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<strong>Vol</strong>ume <strong>67</strong> | 2014 | <strong>No</strong>.I<br />
TM ennessee USICIAN<br />
The Official Publication of the <strong>Tennessee</strong> Music Education Association
TM ennessee USICIAN<br />
The Official Publication of the <strong>Tennessee</strong> Music Education Association<br />
VOLUME <strong>67</strong> | 2014 | NUMBER 1<br />
Table of Contents<br />
Executive Director’s Greeting & Editor’s Message ...............................................................................................6<br />
The Score: News from Across the State .................................................................................................................8<br />
TMEA President’s Message ..................................................................................................................................12<br />
- FEATURED ARTICLES -<br />
National Core Arts Standards: An Introduction – Johnathan Vest .......................................................................28<br />
A Pilot Study: The Burden of Assessment – Michael Catalano and Jamila L. McWhirter ..................................30<br />
Practice Personalities: What’s Your Type? – Thornton Cline ...............................................................................32<br />
Why Music Education? Facts and Insights on the Benefits of Music Study ........................................................34<br />
- COLUMNS -<br />
General Music Chair – Charlene Cook .................................................................................................................14<br />
Choral Chair – Janet Johnson ...............................................................................................................................16<br />
Orchestra Chair – Ben Reagh ...............................................................................................................................18<br />
Band Chair – Debbie Burton ................................................................................................................................20<br />
Collegiate NAfME Chair – Michael Mann ..........................................................................................................22<br />
Higher Education Chair – Eric Branscome ..........................................................................................................24<br />
Collegiate NAfME – J.J. <strong>No</strong>rman ........................................................................................................................26<br />
3<br />
<strong>Vol</strong>ume <strong>67</strong> | 2014 | <strong>No</strong>.I
T<br />
ennessee<br />
M USICIAN<br />
<strong>Tennessee</strong> Music Education Association<br />
Executive Board<br />
Ron Meers<br />
Executive Director<br />
Dr. Jeff Phillips<br />
President<br />
Dr. Johnathan Vest<br />
President-elect<br />
Dian Eddleman<br />
Past-President<br />
<strong>Tennessee</strong> <strong>Musician</strong> Editorial Staff<br />
Dr. Catherine M. Wilson<br />
Senior Associate Editor<br />
Business Affairs and Advertising<br />
The Official Publication of the <strong>Tennessee</strong> Music Education Association<br />
Ginna Houston<br />
Elementary Music Specialist<br />
Bells Elementary School<br />
Bells, <strong>Tennessee</strong><br />
Dr. Andrew Palmer<br />
Orchestra Director & Strings Specialist<br />
White Station High School<br />
Memphis, <strong>Tennessee</strong><br />
Middle <strong>Tennessee</strong><br />
Matthew Clark<br />
Choral Director<br />
Oakland High School<br />
Murfreesboro, <strong>Tennessee</strong><br />
Cameron M. Gish<br />
Director of Bands<br />
Hillsboro Elementary/Middle School<br />
Franklin, <strong>Tennessee</strong><br />
<strong>Tennessee</strong> <strong>Musician</strong> Advisory Board<br />
Dr. Dru Davison<br />
Fine Arts Advisor<br />
Shelby County Schools<br />
Memphis, <strong>Tennessee</strong><br />
Wincle Sterling<br />
Arts Instructional Advisor<br />
Shelby County Schools<br />
Memphis, <strong>Tennessee</strong><br />
Dr. <strong>No</strong>la Jones<br />
Coordinator of Music<br />
Metropolitan Nashville Public Schools<br />
Nashville, <strong>Tennessee</strong><br />
Melissa Dufrechou<br />
Fine Arts Specialist<br />
Williamson County Schools<br />
Franklin, <strong>Tennessee</strong><br />
Justin T. Scott<br />
Associate Editor and Bureau Chief<br />
Laura Boucher<br />
Associate Style Editor<br />
Jazmin Johnson<br />
Associate Director<br />
Social Media and Constituent Relations<br />
Natalie P. Bingham<br />
Production Editor<br />
Allison Segel<br />
Creative Director<br />
Michael W. Chester<br />
Editor-in-Chief<br />
Ian Spector<br />
Publisher<br />
Slate Group<br />
<strong>Tennessee</strong> <strong>Musician</strong> Editorial Board<br />
2014-2016<br />
West <strong>Tennessee</strong><br />
Dr. Betty Bedsole, Editorial Board Chair<br />
Professor of Music<br />
Union University<br />
Jackson, <strong>Tennessee</strong><br />
Dr. Carol King-Chipman<br />
Director of Bands & Associate Director of Bands<br />
Barret’s Chapel K-8 & Bolton High School<br />
Arlington, <strong>Tennessee</strong><br />
J.D. Frizzell<br />
Director of Fine Arts<br />
Briarcrest Christian School<br />
Eads, <strong>Tennessee</strong><br />
Susan Mullen<br />
Strings Director<br />
The Webb School<br />
Bell Buckle, <strong>Tennessee</strong><br />
Sara Panjehpour<br />
Elementary Music Specialist<br />
La Vergne Lake & Smyrna Elementary School<br />
Smyrna, <strong>Tennessee</strong><br />
James W. Story, Jr.<br />
Professor of Music<br />
<strong>Vol</strong>unteer State Community College<br />
Gallatin, <strong>Tennessee</strong><br />
East <strong>Tennessee</strong><br />
Sandra B. Kerney<br />
Choral Director<br />
Ross N. Robinson Middle School<br />
Kingsport, <strong>Tennessee</strong><br />
Dr. Gene Peterson<br />
Associate Director of Choral Activities<br />
University of <strong>Tennessee</strong>, Knoxville<br />
Knoxville, <strong>Tennessee</strong><br />
James D. Phillips<br />
Orchestra Director<br />
Oak Ridge High School<br />
Oak Ridge, <strong>Tennessee</strong><br />
Kevin Smart<br />
Assistant Director of Bands<br />
Fulton High School<br />
Knoxville, <strong>Tennessee</strong><br />
Gerald Jerome Souther<br />
Elementary Music Specialist<br />
Woodmore Elementary School<br />
Chattanooga, <strong>Tennessee</strong><br />
Sarah Cummings<br />
Professional Development Specialist, Choral Music<br />
Knox County Schools<br />
Knoxville, <strong>Tennessee</strong><br />
Walter Mencer<br />
Instrumental Music Specialist<br />
Knox County Schools<br />
Knoxville, <strong>Tennessee</strong><br />
The <strong>Tennessee</strong> Music Education Association (TMEA) was officially<br />
formed in 1945 as a voluntary, non-profit organization representing all<br />
phases of music education at all school levels. The mission of TMEA<br />
is to promote the advancement of high quality music education for all.<br />
Active TMEA membership is open to all persons currently teaching<br />
music and others with a special interest or involvement in music education.<br />
Collegiate membership and retired memberships are available.<br />
Membership applications are available on the TMEA web site:<br />
www.tnmea.org.<br />
<strong>Tennessee</strong> <strong>Musician</strong> was founded in 1948 with J. Clark Rhodes appointed<br />
by the TMEA Board of Control as inaugural editor. <strong>Tennessee</strong><br />
<strong>Musician</strong> was preceded by an earlier publication, <strong>Tennessee</strong> Music<br />
Editors’ Downbeat. <strong>Tennessee</strong> <strong>Musician</strong> is published by Slate Group<br />
in Lubbock, Texas and is mailed to members four times each year at<br />
an annual subscription rate of $6.00 (included in dues). <strong>No</strong>n-member<br />
subscription rate (includes shipping & handling): $30.00 per school<br />
year; single copies: $10.00 per issue.<br />
Place non-member subscription and single copy orders at TMEA, 129<br />
Paschal Drive, Murfreesboro, <strong>Tennessee</strong> 37128 or e-mail to<br />
editor@tnmea.org.<br />
All editorial materials should be sent to: Michael Chester, Editor-in-<br />
Chief (615-904-<strong>67</strong>71 extension 31600) E-mail: editor@tnmea.org.<br />
Submit materials by e-mail in Microsoft Word format.<br />
Advertising: Information requests and ad orders should be directed<br />
to: Catherine Wilson, Advertising Manager (402-984-3394) E-mail:<br />
admanager@tnmea.org. All advertising information is on the TMEA<br />
web site, www.tnmea.org.<br />
Deadlines for advertisement orders and editorial materials: Fall, August<br />
10; Winter, <strong>No</strong>vember 10; Spring, January 10; Summer, April 10.<br />
<strong>Tennessee</strong> <strong>Musician</strong> is copyrighted. Reproduction in any form is illegal<br />
without the express permission of the editor.<br />
Postmaster: Send address changes to: <strong>Tennessee</strong> <strong>Musician</strong>, c/o National<br />
Association for Music Education (NAfME), 1806 Robert Fulton Drive,<br />
Reston, VA 20191-4348.<br />
<strong>No</strong>n-Profit 501(c)(3) Organization U.S. Postage Paid at Lubbock,<br />
Texas. ISSN Number 0400-3332; EIN number 20-3325550<br />
4<br />
www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
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THINK MUSIC -- THINK AUSTIN PEAY<br />
5
TM<br />
Executive Director’s Greeting<br />
& Editor’s Message<br />
To all members of the <strong>Tennessee</strong> Music Education Association, I bid you greetings<br />
and welcome to <strong>Vol</strong>ume <strong>67</strong> of the <strong>Tennessee</strong> <strong>Musician</strong>. As your executive director,<br />
I am honored to serve you and the association and want to let you know how<br />
committed the TMEA board of directors and project chairs are in accomplishing<br />
many of the goals outlined in the TMEA Strategic Plan. One particular goal in<br />
the TMEA strategic plan was to look at more effective ways of communication<br />
with the membership. To that end, we launched a new monthly e-news letter that<br />
is published via e-mail in the middle of each month. The e-news letter will help<br />
spread information across the state, such as event notification and updates, in a<br />
timely manner. We will continue to publish the <strong>Tennessee</strong> <strong>Musician</strong> in both print<br />
and electronic versions. Looking down the road, we have a great professional<br />
development conference scheduled in April as TMEA returns to Memphis, <strong>Tennessee</strong>.<br />
We hope to see you there. We have an outstanding slate of ensemble performances,<br />
as well as many top-notch presentations and professional development<br />
sessions designed with you in mind. As always, we have an outstanding panel of<br />
world-class guest clinicians and conductors who will create an atmosphere of learning and music-making with<br />
our high-caliber all-state ensembles. <strong>No</strong>ne of this is possible without you and your support of the <strong>Tennessee</strong><br />
Music Education Association. I want to encourage all of you to do your part to ensure that the future of TMEA is<br />
bright by getting involved. Best wishes for continued success in the remainder of the school year.<br />
- Ron Meers<br />
Welcome to the launch of the <strong>67</strong>th volume of the <strong>Tennessee</strong> <strong>Musician</strong>. It is a<br />
most humbling honor to be asked to serve in the capacity as editor-in-chief of<br />
a publication with a rich history, which has remained a steadfast companion<br />
throughout the many decades of change. The constant in all of this is you, the<br />
reader. We have so many great music educators in our state, each with a story<br />
to tell. Let this publication stand as the testament to the many talented and<br />
dedicated music educators, from those who are new to the profession, to those<br />
who have served with distinction over the course of several years. It is my sincere<br />
belief that we can all learn something from each other. The mission of the<br />
<strong>Tennessee</strong> <strong>Musician</strong> will continue to evolve, as we remain committed to delivering<br />
the news and information that impacts music education from across the<br />
state, while also focusing on the work being done by teachers like yourself. The<br />
endeavor of serving as editor-in-chief of the <strong>Tennessee</strong> <strong>Musician</strong> and also as a<br />
full-time music educator is no small feat. On the contrary, we are fortunate to<br />
have the time, talents, and dedication of an outstanding editorial staff and an expanded<br />
editorial and advisory board who help share, mentor, collaborate, and guide every facet of every TMEA<br />
publication. Without their expertise we could not accomplish the many tasks at hand. A very special thanks goes<br />
to our outgoing editor, Dr. Mary Dave Blackman for your help and guidance during this transition period. We<br />
wish you the very best and congratulations on your recent promotion to professor of music at East <strong>Tennessee</strong><br />
State University. A work in progress is never finished and we hope to get your feedback. Feel free to send us your<br />
thoughts through e-mail. For now we wish you all continued success throughout the remainder of the semester<br />
and hope you enjoy the latest installment of the <strong>Tennessee</strong> <strong>Musician</strong>.<br />
- Michael Chester<br />
6 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
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7
TM<br />
the score|news from across the state<br />
Belmont University<br />
In fall 2014, Belmont University launched<br />
an undergraduate music therapy program making it<br />
the only university in the state to offer such a degree.<br />
Students will need a total of 136 hours including the<br />
required 41 BELL Core general education hours, 79<br />
music hours, 20 hours of music therapy courses and<br />
an additional 13 clinical foundations courses. In addition,<br />
the program will require a six-month internship,<br />
often outside of Nashville. Once complete, the degree<br />
will qualify graduates to sit for the board certification<br />
exam.<br />
Dr. Madeline Bridges, Associate Dean for<br />
Academic Studies and Professor of Music Education,<br />
received a Lifetime Achievement Award from The<br />
<strong>Tennessee</strong> American Choral Directors Association at<br />
its annual conference held June 20 and 21 in Chattanooga,<br />
<strong>Tennessee</strong>. Bridges serves as campus director<br />
of the <strong>Tennessee</strong> Arts Academy and is co-director of<br />
the Nashville Children’s Choir, a multi-level community<br />
choir program in residence at Belmont.<br />
Belmont University welcomes Dr. Lesley<br />
Mann, who joined the School of Music faculty in fall<br />
2014. She will teach Music Education courses and<br />
direct the 140 voice Women’s Choir. Dr. Mann holds a<br />
doctorate in Choral Conducting and Music Education<br />
from Florida State University.<br />
Cumberland University<br />
Cumberland University strings teacher Thornton<br />
Cline debuted his third book published by Hal<br />
Leonard (distributed in over 60 countries worldwide)<br />
at a free book signing/workshop that was held at<br />
Music and Arts in Raleigh, <strong>No</strong>rth Carolina on Saturday,<br />
October 11. Cline’s new book is titled “Practice<br />
Personalities for Adults” and is the follow-up to his<br />
last best selling book “Practice Personalities: What’s<br />
Your Type?”<br />
In his book, Thornton Cline reveals nine<br />
practice personalities in adults based on over 25 years<br />
of research from over 1,000 interviews with students.<br />
A pre-recorded CD of Cline performing on the piano,<br />
violin and guitar is included along with a free Practice<br />
Personalities self test for adults to determine their<br />
Practice Personalities.<br />
Cline was twice awarded “Songwriter of the<br />
Year” by the <strong>Tennessee</strong> Songwriter’s Association<br />
for his hit song, “Love is the Reason,” recorded by<br />
multi-platinum, King of Romance artist, Engelbert<br />
Humperdinck and pop diva, Gloria Gaynor. Thornton<br />
Cline has been nominated for Dove and Grammy<br />
awards for his performances and songs. In April of<br />
this year, Thornton Cline was nominated for the first<br />
ever Grammy Music Educators Award. Cline is author<br />
of three published books and has had over 150 of his<br />
songs recorded by major and independent artists such<br />
as Engelbert Humperdinck, Gloria Gaynor, Mark<br />
Chestnut, Tammy Trent, Billy and Sarah Gaines, Ray<br />
Peterson, Tim Murphy, and the Manhattans.<br />
Middle <strong>Tennessee</strong><br />
State University<br />
The MTSU School of Music proudly presented<br />
its first “Career in Music Day” on Tuesday, <strong>No</strong>vember<br />
4, 2014. High school students seriously interested<br />
in a career in music, their teachers, and parents were<br />
invited to spend a day on campus attending seminars,<br />
music classes, ensemble rehearsals, and master classes<br />
with the School of Music faculty. Participants had the<br />
opportunity to tour MTSU and meet with admissions<br />
and financial aid counselors. There was no cost to attend<br />
the event.<br />
MTSU proudly announces new faculty for<br />
2014-2015: Dr. Brad Baumgardner, academic advisor/<br />
undergraduate programs; Dr. Patrick Casey, instrumental<br />
music education; Dr. Adam Clark, piano; Mr.<br />
Allen Kennedy, athletic bands; Dr. Eunbyol Ko, piano;<br />
Mr. Chip Henderson, jazz guitar; Dr. Joseph Morgan,<br />
8 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
musicology; Dr. Vanissa Murphy, music literature;<br />
Dr. Gregory Reish, Director of the Center for Popular<br />
Music & musicology; Dr. Catherine Wilson, music<br />
education & literature. MTSU welcomes “American<br />
Jazz Master” saxophonist/composer/band leader<br />
Jimmy Heath on October 20 for a tribute to saxophonist<br />
Illinois Jacquet. This concert is the kickoff for the<br />
establishment of a Jacquet archive at the Center for<br />
Popular Music and a new scholarship endowment.<br />
The MTSU Community Music School began<br />
operations on September 19 with instruction in<br />
string instruments for children ages 5-12 at MTSU<br />
and the Murfreesboro headquarters of the Salvation<br />
Army. The CMS director is violinist Aurora Hernandez,<br />
a recent MTSU masters graduate. The <strong>Tennessee</strong><br />
Board of Regents has approved the change in designation<br />
of Master of Arts to Master of Music for graduate<br />
degrees at MTSU, effective immediately. Dr. Paul Osterfield<br />
is the Director of Graduate Studies in Music.<br />
University Of<br />
Memphis<br />
The Rudi E. Scheidt School of Music welcomes<br />
five new faculty members this year: Dean<br />
Anthony, opera stage director; Dr. Marcin Arendt,<br />
violin; Dr. Kyle Ferrill, voice; Dr. Jeremy Orosz,<br />
music theory; and Ben Yonas, music business.<br />
Dr. John Mueller, associate professor of trombone<br />
and euphonium, was guest soloist with the U.S.<br />
Army Band “Pershing’s Own.” He toured in Maine<br />
for a week with the Yankee Brass Band and was featured<br />
in a euphonium duo at the Great Western Rocky<br />
Mountain Brass Band Festival in Silverton, CO.<br />
Music education division head Dr. Ryan<br />
Fisher has been appointed to serve on the National<br />
Association for Music Education Council for Choral<br />
Education.<br />
Lecolion Washington, associate professor of<br />
bassoon, participated in the Festival del Sole in Napa<br />
Valley, CA and performed with the Sphinx Symphony<br />
Orchestra with Pinchas Zukerman.<br />
University<br />
Of <strong>Tennessee</strong><br />
at Martin<br />
UT Martin welcomes Bill Waterman as the<br />
Director of Athletic Bands and Assistant Professor of<br />
Music in the area of applied tuba and euphonium.<br />
Prior to his appointment at UT-Martin, Mr. Waterman<br />
served on the faculty at the University of Michigan<br />
at Flint (MI), the Flint Institute of Music (MI), and<br />
Jackson College (MI). Additionally, he has been the<br />
instructor of record for classes at both Michigan State<br />
University and Texas Tech University. During the<br />
summers, Mr. Waterman serves on the faculty for Blue<br />
Lake Fine Arts Camp in Twin Lake, MI.<br />
Mr. Waterman served as music director and<br />
conductor for the award winning Capital City Brass<br />
Band (Lansing, MI). During his tenure as music director,<br />
the brass band won back-to-back first place championships<br />
in the 2013 and 2014 <strong>No</strong>rth American Brass<br />
Band Association (NABBA) 10-Piece Brass Band<br />
category. The band also placed second overall in their<br />
section at the 2014 NABBA Championships. The band<br />
received an overall third place finish at the 2013 US<br />
Open Brass Band Championships in St. Charles, IL,<br />
where Mr. Waterman’s arrangement of “The Carrollton<br />
March” won the award for “best new arrangement<br />
or composition.”<br />
Mr. Waterman brings a diverse background of<br />
experience from the world of marching band. Over<br />
the past ten years he has worked as an arranger and/or<br />
instructor for winds and both battery and front ensemble<br />
percussion in Kansas, Florida, and Colorado. As a<br />
performer he has marched tuba, trombone, battery percussion,<br />
and was a two-time DCI finalist as a member<br />
of the Crossmen Drum and Bugle Corps (Allentown,<br />
PA).<br />
9
TM<br />
the score|news from across the state<br />
As a soloist, Mr. Waterman’s career is highlighted by a 2011 recital performance in Carnegie Hall. As an orchestral<br />
musician, he served as Principal Tuba with the Topeka Symphony Orchestra (Topeka, KS) for nine seasons.<br />
He has also performed with the Lansing Symphony (MI), Mason Symphony (MI), Celtic Woman Orchestra<br />
(MI), Big Spring Symphony (TX), and the Lubbock Symphony (TX).<br />
Mr. Waterman holds a Bachelor of Music degree from the University of Kansas and Master of Music<br />
degree from Texas Tech University. He has completed all required coursework toward his Doctorate of Musical<br />
Arts degree from Michigan State University.<br />
Got news or information worth sharing?<br />
Send items to editor@tnmea.org. Information may be edited for space.<br />
• Intensive professional training with a superb<br />
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• Internationally recognized faculty and uniquely<br />
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• State-of-the-art classrooms, studios, and<br />
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• Degree programs offered in instrumental<br />
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• Ranked as one of the nation’s top twenty<br />
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Vanderbilt University Orchestra • Robin Fountain, Director<br />
AUDITION DATES 2014/15<br />
December 6, 2014 • January 23–24, 2015<br />
February 6–7 • February 20–21, 2015<br />
Blair School of Music<br />
Vanderbilt University<br />
Nashville, <strong>Tennessee</strong><br />
blair.vanderbilt.edu<br />
Dwayne Sagen,<br />
Assistant Dean for Admissions<br />
Dwayne.P.Sagen@vanderbilt.edu<br />
(615) 322-6181<br />
10 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
11
TM<br />
President’s message<br />
Jeff Phillips<br />
Greetings! I’m<br />
sure that many of<br />
you are busy working<br />
on your holiday<br />
programs, working<br />
on portfolios,<br />
maybe finishing<br />
marching season,<br />
and busy getting<br />
ready to wrap up<br />
this semester and<br />
plan for another<br />
simultaneously. As<br />
with every year,<br />
especially in education,<br />
change is upon<br />
us! That’s going to be one thing we can always count<br />
on. While we can’t control many of the directives<br />
and initiatives that are required of us, what we CAN<br />
control is our reaction to them and how we CHOOSE<br />
to deal with them. Many of these items shouldn’t be<br />
thought of as things that impede our classroom day to<br />
day teaching, but as ways that we can become better<br />
at our own teaching, organization, and advocacy.<br />
For this issue we will look at the new standards. Before<br />
you begin rolling your eyes and telling me how<br />
you just got familiar with the old standards (and how<br />
you never did figure out how to do the singing/playing<br />
of instruments or that improvisation thing), take a<br />
breath!<br />
To be successful in the classroom, we all have<br />
to have definable goals and a focus of direction for<br />
our instruction. The key component of making these<br />
goals is to have a set of standards for what you expect<br />
to accomplish and how you want to get your students<br />
to the desired level. Whether you take your standards<br />
for curriculum from an older curriculum guide, state<br />
or national standards, or a tried and true set of goals,<br />
you use standards in your classroom (if you don’t,<br />
perhaps we need to talk…)! Our National (and <strong>Tennessee</strong>)<br />
Standards have been in place for some time<br />
now and I think we have all had issues with how to<br />
incorporate so many things into our curriculum. How<br />
do instrumental directors incorporate singing? How<br />
do choral directors incorporate playing of<br />
instruments? What about that improvisation section,<br />
and are we all doing composing and arranging? These<br />
have been the subject of discussion for several years<br />
prior to tying the standards to our classroom teacher<br />
evaluations. <strong>No</strong>w that we have them posted in our<br />
classrooms and are expected to reference these when<br />
we teach, here “they” go and start changing them!<br />
This is where the “new” standards come in. Partly as<br />
an answer to these frustrations we’ve experienced and<br />
as a means to tie what we do in music education to<br />
21 st century skills and college readiness, other teachers<br />
have developed these revisions. This has been a long<br />
process and the “rollout” of the new standards began<br />
last year with opportunities for review from music<br />
teachers at all levels all across the country.<br />
What you’ll find are fewer small standards<br />
and some purposefully broad areas that allow YOU<br />
as a teacher to fit your style of teaching to incorporate<br />
these areas into your lessons and rehearsals. As<br />
we begin to look at these, think of how what you’re<br />
already doing (or have done for years) is already in<br />
line with these areas! Then, how can you utilize these<br />
to better teach your students and assess their performance?<br />
I think you may be pleasantly surprised at<br />
how the areas of “perform, create, and respond” translate<br />
into everyday music education! This is the stuff<br />
WE have been doing all along and now our colleagues<br />
in the school are going to be expected to fit their subjects<br />
into this model. WE have an opportunity to help<br />
them and incorporate MUSIC into all of our subjects<br />
IF we take this challenge and use it to our advantage;<br />
we have a built in advocacy moment just waiting for<br />
us!<br />
Take advantage of the articles and columns in<br />
this issue to spark creativity (or argument!) and let’s<br />
use this as an opportunity to make us better teachers<br />
and our students better musicians. The endless paperwork<br />
and forms, the classroom observations, new<br />
requirements, and everything else we have thrown on<br />
us each year: through all of it, let’s not forget the real<br />
reason that we started doing this “music” stuff in the<br />
first place! In all of those mounds of clerical “stuff”<br />
we teach an incredible art form to our students! YOU<br />
are the most important part of the day for so many<br />
children and YOU are TMEA! - Jeff Phillips<br />
12 www.tnmea.org<br />
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TM<br />
General Music Chair |Charlene Cook<br />
Greetings! I’m Charlene Cook, and it is my<br />
pleasure to serve as the General Music Chair on the<br />
<strong>Tennessee</strong> Music Educators Association Board of<br />
Directors. I am honored to serve in this position and<br />
thank President Jeff Phillips for the opportunity.<br />
As I write this article, I hope that ALL of us will remember<br />
to take time for ourselves, both personally and<br />
professionally. This is a difficult task to accomplish in<br />
our hurry up, “I need it now” or “This was due when”<br />
world.<br />
Recently, my principal hosted a book study<br />
on Stephen Covey’s The Leader In Me. This book<br />
discusses the possibilities of students implementing<br />
Covey’s 7 habits. I’m not usually “into” reading books<br />
that can be classified as “self-help”, but this book really<br />
hit home. I became excited about the possibilities<br />
for our students and our staff. The process will take<br />
time and effort but for the schools featured, it was time well spent. I’ll try to let you know how it turns out.<br />
I mention this because we have the opportunity to implement for ourselves Habit 7: Sharpen the Saw, many<br />
times during the remainder of the school year. “Sharpen the Saw” means take some time for yourself, relax, or<br />
do something you enjoy. <strong>No</strong>w I admit, this really means get away from your professional responsibilities, to<br />
spend time doing something you don’t normally do in your weekly routine, and to BREATHE. The “sharpening”<br />
opportunities I’m referring to now are professionally related.<br />
I’m one of those “PD geeks”. I admit it. I love attending professional development workshops where<br />
I can hone MY professional skills (not math, not reading, not science or test taking skills). It is so refreshing<br />
to “talk music” with other music education professionals. Most of us are “singletons” in our schools. We don’t<br />
have a natural partner or partners with whom we can collaborate, so we must find times where we can congregate<br />
and find new ideas or solutions<br />
to specific music related<br />
issues.<br />
So, with that all said, I want<br />
to urge you to take advantage<br />
of the workshops and conferences<br />
offered in our state and<br />
regions this school year. Don’t<br />
be surprised if you see me<br />
there – I’ll be happily “sharpening<br />
my saw.” I will post<br />
workshop information on the<br />
General Music section of the<br />
TMEA website as I learn of<br />
opportunities.<br />
- Charlene Cook<br />
14 www.tnmea.org<br />
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Choral Chair |Janet Johnson<br />
Change is in the air! Change is good! TMEA is<br />
abound with changes in leadership positions. As your<br />
State Choral Chair, I’d like to invite you to be an active<br />
participant in the process of making our organization<br />
stronger and more relevant to our everyday lives<br />
as music educators.<br />
As I have become more involved in the last<br />
few years in leadership positions at the regional and<br />
state level, I have become very appreciative of all<br />
the work that goes on behind the scenes to make our<br />
professional organizations run smoothly and be effective<br />
support systems for choral directors. I have<br />
been enriched and inspired by all of the professional<br />
relationships I’ve made with other members of the<br />
boards and councils who are willing to give a tremendous<br />
amount of time to plan, implement programs<br />
and events, and solve conflicts that arise.<br />
Following Jeff Chipman in this position will<br />
be no easy task. He brought energy, teaching experience,<br />
organizational expertise and a very forward<br />
thinking approach to developing standards, board<br />
policy and communicating with members. Thank you<br />
Jeff, for your service!<br />
What I hope to bring to this job is 32 years<br />
of experience, from elementary to middle to high<br />
school, and a passion for teaching children of all ages<br />
to sing. After graduating from MTSU with a music<br />
education degree and UTC with a master’s degree, I<br />
received the 4 summer Kodaly certificate from KCA<br />
in New Bedford, Massachusetts. I taught elementary<br />
music in Chattanooga for 12 years, high school<br />
music in Knoxville for 12 years and am presently in<br />
my 8 th year as the choral director for Signal Mountain<br />
Middle/High School in Signal Mountain, Tn.,<br />
where I teach grades 6-12 vocal music and 2 sections<br />
of International Baccalaureate music. I believe this<br />
experience will enable me to support and understand<br />
the needs of vocal music teachers at all levels and<br />
work to make a more seamless connection between<br />
grade levels, unifying us and helping us all to support<br />
one another as we bring our best practices forward to<br />
teach our students.<br />
As we begin the implementation of our new<br />
national standards, I’d like to offer a word of encouragement<br />
to both seasoned and new teachers who<br />
might feel overwhelmed or concerned that too much<br />
change is expected. As our school has become an IB<br />
school and our teachers have spent much time in training,<br />
we have immersed ourselves in what we consider<br />
“best practices.” Then as Common Core emerged and<br />
we began to also implement those standards, we again<br />
heard the term “best practices” and they looked very<br />
similar to what we were doing as an IB school. As we<br />
take a look at the new National Standards, we again<br />
can see that what they are recommending is “best<br />
teaching practices.” So what does that mean for you?<br />
Do you have to totally overhaul your rehearsal practices,<br />
your busy performing schedule, and your exciting<br />
trip? From sessions I attended at the NAfME conference,<br />
I came away encouraged with a positive attitude<br />
about what I could do to improve my program, yet try<br />
to keep the same quality of music performing.<br />
I believe the standards are demanding that we move<br />
away from the old model of being mostly director centered<br />
and that we work to help our students become<br />
independent musicians who have input in the rehearsal<br />
process, the literature chosen and that they are made<br />
to be accountable for their progress in music literacy<br />
and in musicality. One session leader said it might be<br />
possible that if we would be willing to give up one<br />
concert a year, (perhaps fall or winter) that we could<br />
find the time to really work on music skills, forms,<br />
creativity, and yet perform well for festivals and major<br />
concerts.<br />
Do your students really understand the text of<br />
their music? I am guilty of sometimes working so hard<br />
to get the music learned that I don’t spend enough<br />
time on the text. Last spring my middle school choirs<br />
were singing an arrangement of the folk song, “Nine<br />
Hundred Miles.” After learning the song, I asked them<br />
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to write the letter the person might have been reading as they walked along that track. Some of them wrote some<br />
very heartfelt letters. They were then able to sing the song with so much more expression. This short activity<br />
was a creative way of responding to the music and using their imagination. I’ve had high school singers write<br />
an extra verse to a ballad or folk song. I don’t believe we are being told to make any changes in our rehearsal<br />
practices. We are just being asked to broaden them, to add to our teaching practices to help our students become<br />
more independent musicians and become willing to be musical “risk-takers.”<br />
Most of us have always been eclectic music educators, drawing from the many approaches available for teaching<br />
music. That’s one of the things I love about teaching music. Even while following a set of national standards,<br />
unlike other subject areas, we are not limited to a certain textbook or primary approach to getting the<br />
standards taught. We still have so much freedom to choose repertoire and design creative lessons to get it taught.<br />
As I look over the websites from our three regions, it is obvious that it is an extremely busy time for us<br />
all and we have some exciting events planned for our students. All three groups are auditioning for All Region<br />
and All State choirs. Some areas are planning mass elementary and middle school choir events. If you have special<br />
events or announcements you would like publicized for your region, please e-mail me.<br />
Please look for ways to become more involved with TMEA and let your voice be heard. I look forward to communicating<br />
with you and learning more about each region. I wish you and your choirs the best of luck with<br />
your busy performing season!<br />
- Janet Johnson<br />
SCHOOL of MUSIC<br />
Bachelor of Arts:<br />
Major in Music<br />
Bachelor of Music:<br />
Majors in Church Music<br />
Commercial Music<br />
Composition<br />
Music Education<br />
Music with an Outside Minor<br />
Music Theory<br />
Music Therapy<br />
Musical Theatre<br />
Performance<br />
Piano Pedagogy<br />
Master of Music:<br />
Majors in Church Music<br />
Composition<br />
Music Education<br />
Pedagogy<br />
Performance<br />
www.BELMONT.edu/music<br />
17
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Orchestra Chair |Ben Reagh<br />
I recently attended the Austin Peay Honors<br />
Orchestra Festival as a director accompanying my students<br />
that had been selected. The weekend was fantastic,<br />
not only for my students, but also for myself, as it<br />
was filled with terrific musical and educational events<br />
and experiences. So I want to write a little about the<br />
event, and share some general thoughts I have about<br />
honor festival weekends.<br />
The selected students had the privilege of<br />
working with two excellent string music educators and<br />
clinicians- Matt Wilkinson from Maryville, TN and<br />
Georgia Ekonomou from Atlanta, Georgia. The three<br />
days of rehearsals were intense, yet fun, culminating<br />
in an enjoyable concert on Saturday afternoon featuring<br />
the two honors orchestras. Of course, this is typical<br />
of any weekend honor event, but this was just one<br />
part of this festival.<br />
As the students began rehearsals, I was delighted<br />
to find out (coinciding with the orchestra<br />
festival) there was a recital about to begin in the<br />
concert hall featuring world-renowned clarinetist<br />
Charles Neidich that had been in residence at the<br />
University all week. <strong>No</strong>w I am not a clarinetist, nor<br />
was I in Clarksville for that reason, but my philosophy<br />
is “good music is always worth listening to”,<br />
and when you have a chance to listen to a virtuoso<br />
perform live (on any instrument) you do it! I was not<br />
disappointed. In fact, it was better than I had anticipated.<br />
Neidich’s selections allowed him to display<br />
a wide variety of perfected techniques concluding<br />
with a jaw-dropping performance of Sarasate’s famed<br />
showpiece Zigeunerweisen, originally for violin. The<br />
evening took me back to my college days of attending<br />
recitals on a near-nightly schedule. I was glad I had<br />
not spent the hour sipping coffee and checking e-mail<br />
as originally planned.<br />
The next evening, the students and I were<br />
treated to another concert featuring the award-winning<br />
Parker String Quartet from Boston, MA. They<br />
performed Haydn’s Quartet #76, <strong>No</strong>.5, followed by<br />
Ainsi la nuit written by Deutilieux, and concluded<br />
with the Mozart Clarinet Quintet featuring Charles<br />
Neidich as he concluded his week of performances.<br />
The Parker Quartet put on a superb display of the<br />
highest level of musicianship.<br />
Besides performing, the Parker Quartet and<br />
Charles Neidich both presented master classes on<br />
Friday during the day. Additionally, on Saturday morning,<br />
before heading to the airport, the Parker Quartet<br />
did a private performance for the high school students<br />
followed by an enlightening Q&A session.<br />
The APSU faculty contributed to the festival<br />
in several ways, as well. Dr. Emily Hannah Crane and<br />
Dr. Eli Lara not only organized and ran the festival,<br />
but also listened to chair placement auditions and led<br />
sectionals for the honors orchestras. Before the Parker<br />
Quartet concert, Dr. Gregory Wolynec gave a pre-concert<br />
talk to the festival students covering the history<br />
of the string quartet, biographical information about<br />
the featured composers, and insightful information<br />
about the music to be performed. Dr. Eric Branscome<br />
presented a wonderful session, applicable for both the<br />
parents and teachers, on the topic of how understanding<br />
your child’s personality and learning styles can<br />
help you to help them have better practice and performance<br />
techniques.<br />
So as you can see, it was a fantastic weekend<br />
for everyone involved. I applaud APSU for hosting<br />
a great event, and I know that they are just one of<br />
many <strong>Tennessee</strong> universities through the course of the<br />
school year and during the summer that hold similar<br />
events and summer camps for students of all ages in<br />
the areas of strings, winds, percussion, and voice. I<br />
know we all have super busy schedules, limited funds<br />
and limited time to do extra paperwork, but I would<br />
18 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
encourage all directors to have at least some of their students participate in these events whenever possible (aim<br />
for one a year). I am sure directors that already do will agree that the effort, money, and time given is totally<br />
worth it.<br />
The point of this article is to share my thoughts on the many positives of having students attend these<br />
types of events. Besides the obvious student benefits, the teachers can benefit in many ways along with helping<br />
your overall school program.<br />
So throughout the year, if you know of any events or special performances that you feel would be of interest<br />
and benefit to others, please e-mail me and I will be glad to pass it by way of the most appropriate means<br />
possible (e-mail, website, orchestra blog, articles, etc.)<br />
- Ben Reagh<br />
APPALACHIAN STATE UNIVERSITY<br />
*Saturday, December 6, 2014<br />
Instrumental Areas Only<br />
*Saturday, January 17, 2015<br />
All Areas<br />
*Saturday, January 31, 2015<br />
All Areas<br />
AUDITION DATES:<br />
Saturday, February 14, 2015<br />
Instrumental Areas Only<br />
Saturday, February 28, 2015<br />
Instrumental Areas Only &<br />
Hayes Young Artist Competition<br />
($7,500 annual renewable scholarship)<br />
*To be eligible for the competition, prospective students must audition on these dates.<br />
music.appstate.edu/prospective-students • 828-262-3020<br />
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Band Chair |Debbie Burton<br />
Greetings <strong>Tennessee</strong> band directors. By now<br />
must of us are well into rehearsing selections for upcoming<br />
concerts, parades, and other performance endeavors.<br />
The TMEA Board and Council had two very<br />
productive meetings over the summer and the current<br />
board and council members are committed to making<br />
our association the best it can be. TMEA continues to<br />
work with the <strong>Tennessee</strong> Bandmasters Association to<br />
improve and develop events for the betterment of all<br />
of our students and programs.<br />
Jazz Project Chair<br />
I am very happy to report the addition of a<br />
new position to the TMEA Council. This summer,<br />
the position of Jazz Project Chair was created and<br />
Dr. Rich Ripani from Hume-Fogg High School has<br />
agreed to serve as our first Jazz Project Chair. This<br />
new position will allow for a separate Jazz Caucus<br />
at the annual conference where matters specific to<br />
Jazz Bands can be discussed and then reported to the<br />
TMEA board. The new jazz caucus will also be responsible<br />
for providing a list of potential conductors<br />
to TMEA for our All-State Jazz Band.<br />
All-State Chair Placement Audition Rubric<br />
An audition rubric and tally sheet was developed<br />
and used as a pilot during the 2014 All- State<br />
chair placement auditions. Discussion at the caucus<br />
meeting was very positive about its usefulness and<br />
need. A final discussion and revisions were made at<br />
the August Council meeting and the rubric was adopted<br />
for wind instruments. A percussion rubric will<br />
be developed this year and used as a pilot in 2015<br />
with final revisions made at the TMEA council meeting<br />
in summer 2015.<br />
Honors Recital Proposal for the Conference<br />
This summer the <strong>Tennessee</strong> Bandmasters Association<br />
(TBA) made a proposal to sponsor a student<br />
honors recital at the 2015 conference. Some have<br />
referred this event as a solo and ensemble but I prefer<br />
to think of it as an honors recital. Each region, ETS-<br />
BOA, MTSBOA, and WTSBOA, will be responsible<br />
for providing two students to perform on the recital.<br />
This event has been added to the conference schedule<br />
on Wednesday evening. More details will be made<br />
available to each region by the TBA regional representatives.<br />
State Concert Festival<br />
The 2014 State Concert Festival was a huge<br />
success. Forty ensembles applied to perform and thirty-four<br />
were scheduled. The dates for the 2015 Festival<br />
are April 23 and 24 and it will be held at Stewarts<br />
Creek High School in Smyrna, TN. Invitations have<br />
been sent out and more information can be found on<br />
the TMEA website.<br />
2015 All-State Bands<br />
Conductor of the 11-12 grade All-State Band<br />
will be Kevin Sedatole, Director of Bands at Michigan<br />
State University. Alfred Watkins, Retired Director of<br />
Bands at Lassiter High School, Marietta, Georgia, will<br />
be the 9-10 grade All-State Band conductor. Conductor<br />
of the All-State Jazz Band will be Mr. Rodney<br />
Whitaker, Professor of Jazz Studies at Michigan State<br />
University.<br />
- Debbie Burton<br />
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TM | <strong>Vol</strong>ume <strong>67</strong> number 1
MARYVILLE, TENNESSEE<br />
MARYVILLE COLLEGE MUSIC DEPARTMENT<br />
Degrees and performance opportunities:<br />
B.A. in Music<br />
B.M. in Music Education<br />
B.M. in Vocal Performance<br />
B.M. in Music Theory/Composition<br />
Ensembles: Orchestra, Concert Band, Jazz Band,<br />
Concert Choir, Community Chorus, and<br />
small a cappella groups<br />
Music scholarships are available,<br />
and worth up to full tuition!<br />
MARYVILLECOLLEGE.EDU<br />
Call Ashley Abbott at 865.981.8153 for details.<br />
21
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Collegiate NAfME Chair<br />
Michael Mann<br />
Union University was the site for this year’s<br />
annual Kick Off for the <strong>Tennessee</strong> Collegiate Division<br />
of NAfME on September 13 th .<br />
Over 40 students and 11 Presenters from<br />
around the State met in Jackson for<br />
a day of educational sessions and concluded with new<br />
officer elections, constitution revisions and spectacular<br />
door prizes.<br />
Dr. Chris Mathews, Chairman of the Music<br />
Department and Michael Mann, Advisor Chairman<br />
from Union University welcomed the attendees after<br />
breakfast and registration. Ron Meers, Executive<br />
Director of TMEA, shared the importance of being<br />
a member of CNAfME and Dr. Johnathan Vest (UT<br />
at Martin) gave an in-depth and informative segment<br />
sharing the benefits and functions of CNAfME and<br />
TMEA.<br />
The students in attendance represented 9<br />
Universities across the State and were treated to their<br />
choice of sessions each hour with many diversified<br />
topics.<br />
This year’s presenters included: Thornton<br />
Cline (Cumberland University), Dr. Chris Mathews<br />
(Union University), Dr. Johnathan Vest (UT at Martin),<br />
Dr. David Royse (UT Knoxville), Dr. Judith<br />
Sullivan (<strong>Tennessee</strong> Technological University), Dr.<br />
Armand Hall (Univ. of Memphis), Dr. Ryan Fisher<br />
(University of Memphis), Dr. Dan Musselman (Union<br />
University), Dr. Michele Paynter Paise (Cumberland<br />
University), Dr. Eric Branscome (Austin Peay St. University)<br />
and Dr. Jamila McWhirter (MTSU).<br />
In the final session, the CNAfME students selected<br />
new officers for the 2014-15 year: West <strong>Tennessee</strong><br />
CNAfME President is JJ <strong>No</strong>rman (UT at Martin),<br />
Middle <strong>Tennessee</strong> President is Kristen Roddy (Belmont<br />
University) and East <strong>Tennessee</strong> President is<br />
Kathryn Losley (UT Knoxville). The Vice President<br />
and Public Relations Officer is Garrett Doo (MTSU)<br />
and the Secretary is Amber Joy Cleveland (Univ. of<br />
Memphis).<br />
There were giveaways from companies that<br />
included Amro Music, KHS America/Jupiter Band<br />
Instruments, NAfME, Woodwind and Brasswind and<br />
JW Pepper.<br />
Some very special door prizes were awarded<br />
at the end of the day. Amro Music provided a baton,<br />
pitch pipe, tuner/metronome and a beautiful gold music<br />
stand.<br />
The grand prize was a brand new Euphonium<br />
donated by KHS America/Jupiter Band Instruments<br />
and was won by Austin Peay St. University.<br />
- Michael Mann<br />
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TM | <strong>Vol</strong>ume <strong>67</strong> number 1
• Competitive<br />
scholarships available<br />
• Music ensembles from<br />
symphony to salsa<br />
• 200 music<br />
events per year<br />
• Ten undergraduate<br />
music programs<br />
• Eight graduate<br />
music programs<br />
• Music living/learning<br />
community on campus<br />
• 35 full-time and<br />
50 part-time faculty<br />
• University Honors<br />
College courses<br />
AUDITION DATES<br />
Saturday, January 31, 2015<br />
Monday, February 16, 2015<br />
Saturday, February 28, 2015<br />
CAREERS IN MUSIC DAY<br />
Tuesday, <strong>No</strong>vember 4<br />
SCHOOL OF MUSIC<br />
MTSU Box 47<br />
Murfreesboro, TN 37132<br />
(615) 898-2469<br />
www.mtsumusic.com
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Higher Education Chair<br />
Eric Branscome<br />
My name is Eric Branscome and it is an honor<br />
and a pleasure to serve for this term as the TMEA<br />
Higher Education Chair and I look forward to working<br />
with you all. A special word of gratitude goes to Dr.<br />
Barry Kraus for serving as the previous Higher Education<br />
Chair, for his dedication to this position, and for<br />
his leadership over the past few years.<br />
I am the Coordinator of Music Education at<br />
Austin Peay State University, and am beginning my 4 th<br />
year in <strong>Tennessee</strong>. I vividly remember visiting APSU<br />
for the first time, and my first interactions with <strong>Tennessee</strong>’s<br />
collegiate music educators. In those first conversations<br />
I remember being struck with the sense that<br />
this is a time of significant transition in music education<br />
across the state. In the few years since that initial<br />
meeting, we have all been impacted in some way by<br />
the implementation of the Student Growth Portfolio<br />
Model, changes to the Praxis II Music exam, the<br />
transition to the new Core Arts Standards, and the<br />
<strong>Tennessee</strong> Promise. In addition, some campuses are<br />
adjusting to new edTPA and Residency requirements<br />
for student teachers. I am grateful to all of you as collegiate<br />
music educators for the leadership roles you<br />
play in implementing positive change in music education,<br />
and for partnership with local school systems for<br />
mutual growth through these times of transition.<br />
Institutional Partnership<br />
Last year, the idea of an institutional partnership<br />
or membership was proposed as a means of<br />
encouraging, or perhaps enabling more participation<br />
in TMEA by non-music education university faculty<br />
members (administrators, applied faculty, ensemble<br />
members, etc…). Based on the unsuccessful attempts<br />
of this model in other states, there is still some discussion<br />
among the TMEA board regarding the logistics<br />
of this type of proposal. More information will be<br />
disseminated is it becomes available.<br />
All-Collegiate Choir<br />
This year’s all-collegiate ensemble is Choir.<br />
We are proud to announce this year’s clinician will<br />
be Dr. A. Jan Taylor, Director of Choral Activities at<br />
Prairie View A&M University in Texas. She comes<br />
highly recommended for her work as a music educator<br />
and as a choral conductor, and we look forward<br />
to working with her in April. The call for participation<br />
and performance selections will be available on the<br />
TMEA website.<br />
Call for Mini Concerts<br />
We will also be posting the call for chamber<br />
ensemble participation for the mini-concerts that take<br />
place in the exhibit hall at the annual conference.<br />
These performances are 20 to 30-minute programs that<br />
are available to student or faculty ensembles. More<br />
information will be available on the TMEA website.<br />
Annual Conference Attendance<br />
One of Barry’s final reports included a request<br />
to all collegiate music educators to consider the time<br />
of year of the annual conference, and to facilitate<br />
conversations with local schools and other personnel<br />
about the benefits or detriments of moving the conference<br />
to a different month. Ideally, the conference<br />
should be scheduled at a time that is ideal for a majority<br />
of the TMEA membership.<br />
I would like to continue this discussion, and<br />
begin an additional line of conversation concerning<br />
means by which <strong>Tennessee</strong>’s universities might<br />
endeavor to boost attendance at the annual conference,<br />
and participation in TMEA in general. Yes, the<br />
organization is strong and its members are active.<br />
But there may be strategies for generating increased<br />
participation from those who have not yet joined<br />
or may not prioritize participation in TMEA. As an<br />
example, seek-out funding sources to provide financial<br />
assistance for your student teachers to attend the<br />
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conference, and provide financial assistance to the campus mentors so they can attend the conference with the<br />
student teachers. Ideally the campus mentors and student teachers will meet before the conference to preview<br />
the conference schedule and select a series of mutually beneficial sessions to attend, and then meet after the conference<br />
to discuss the contents of those sessions and their application to the music classroom. This model will<br />
obviously benefit the student teacher, and may also extend the influence of the mentor teacher beyond the classroom,<br />
and enhance the relationship of the university with the local schools. If your university already implements<br />
a model of this nature, feel free to share the specifics on the higher education blog on the TMEA website<br />
so we can all benefit from your experiences.<br />
TMEA is also working to establish a program for music educators to earn graduate credits towards a<br />
master’s degree in music education as they earn Professional Development Units (PDUs) for participating in the<br />
annual conference (more information will be disseminated as it becomes available). If you have other ideas for<br />
increasing involvement in TMEA and the annual conference, or ways in which university music education programs<br />
might serve as advocates for music professional development, feel free to post comments on the higher<br />
education blog on the TMEA website.<br />
- Eric Branscome<br />
elementary, middle, and high school<br />
band, choir, and orchestra<br />
www.SMMFestival.com<br />
or call:1-855-766-3008<br />
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Collegiate NAfME |J.J. <strong>No</strong>rman<br />
At the 2014 TMEA conference, Past President<br />
Dian Eddleman encouraged me to attend the NAfME<br />
2014 Hill Day. At the time, I had a previous engagement<br />
that would have kept me from attending, so I<br />
put it out of my mind, believing it was outside the<br />
realm of possibility. A month or so later, my mentor<br />
and our President-Elect, Dr. Johnathan Vest told me<br />
that I should do whatever it takes to go on this trip.<br />
He stated that it would kick start my career in ways<br />
that I could not even begin to imagine. I realized that<br />
I had to do whatever it took to go on this trip. Thanks<br />
to the help of the University of <strong>Tennessee</strong> at Martin<br />
Department of Music, I was able to participate in the<br />
National Association of Music Education’s 2014 Hill<br />
Day and Collegiate Advocacy Summit.<br />
On Friday June 27, 2014, Dian Eddleman,<br />
Johnathan Vest, Jeff Phillips, Ron Meers, and I<br />
served as the <strong>Tennessee</strong> delegation to Capitol Hill.<br />
We spent our time advocating for music education<br />
in the offices of Senator Bob Corker, Senator Lamar<br />
Alexander, Representative Scott DesJarlais, and<br />
Representative Diane Black. We discussed the new<br />
“STEM to STEAM” congressional caucus that has<br />
been formed to advocate for the arts to be considered<br />
a core subject, and we asked them to consider music<br />
education when issues of funding arise. The <strong>Tennessee</strong><br />
delegations from this year (and prior years),<br />
along side with the NAfME national office staff, have<br />
started to build relationships with our elected officials<br />
on the hill. They recognize our passion and strong<br />
advocacy for our subject.<br />
I was also joined by 51 of the brightest collegiate<br />
NAfME music education students, and future<br />
music educators, from across the country. Together<br />
we discussed ways we could advocate for music<br />
education, future students, and our future jobs. The<br />
best time to advocate for tomorrow is today. We all<br />
agreed that Music In Our Schools Month (MIOSM)<br />
was the best way for collegiate students to join up<br />
with current teachers, the state music educator associations,<br />
and other advocates for the arts. Collegiate<br />
students should be at the ready whenever called on to<br />
serve along side current teachers.<br />
Likewise, CNAfME chapters should seek out<br />
teachers and ask how they can get involved. Whether<br />
we are advocating on behalf of students, parents, other<br />
teachers, principals, school boards, or other elected<br />
officials, we are clearing the way for a better environment<br />
for the music education of tomorrow.<br />
NAfME has conducted research and made<br />
available some wonderful literature to assist in our<br />
advocacy efforts; specifically, the Broader Minded<br />
campaign. It provides everyone who advocates with<br />
helpful information regardless of the audience. We<br />
have all heard and probably used the advocacy tactics<br />
of music improving test scores and social skills. The<br />
Broader Minded campaign does not discredit these<br />
points, but rather reminds everyone that music is also<br />
important for music’s sake and this new campaign provides<br />
information on just that. Please take some time<br />
to visit at www.broaderminded.com.<br />
TMEA executive board members have already<br />
started planning for their trip to Hill Day 2015 and<br />
they want your help! I am planning on attending this<br />
coming year and would love for you to join us. The<br />
more participation we have, the stronger our voice,<br />
and the more changes we can make. If you are interested<br />
in attending please contact me to get your name<br />
on the list for the 2015 NAfME Hill Day.<br />
- J.J. <strong>No</strong>rman<br />
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celebrate inspiring leaders and organizations<br />
participate in monthly conference calls and webinars<br />
a c c e s s o nl i n e r e s o u<br />
r c e s<br />
<br />
The National Network for<br />
Music Education Advocacy Needs You!<br />
Tap into the SupportMusic Coalition network and<br />
resources to keep music education strong.<br />
Join the network today!<br />
<br />
27
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National Core Arts Standards: An Introduction<br />
Johnathan Vest<br />
Standards. If you are in the field of education,<br />
then that word immediately brings something to<br />
mind. That something maybe positive, like achievement<br />
or success. You may correlate standards with<br />
negative terms like accountability or testing (and<br />
whether these terms are negative depends on who you<br />
ask). Or, it may only elicit an eye roll, signifying your<br />
exasperation with one more thing – one more fad, one<br />
more idea that will eventually be replaced by the next<br />
of that change, and it presents a real challenge to our<br />
discipline. Music has never been considered a “core”<br />
subject by the traditional educational establishment,<br />
but we haven’t seen a nationwide focus away from the<br />
arts like this since the launch of Sputnik in 1957<br />
and the ensuing “star wars.” (It is worth mentioning<br />
that there is a STEM to STEAM Caucus that has been<br />
formed in Washington, D.C. [with the “A” representing<br />
the arts], but even this seems more focused on<br />
visual art and graphic design than music).<br />
“Music educators (as well as other non value-added tested<br />
subject area teachers) have not been as susceptible to the<br />
frequency of change in standards and curricula as our<br />
colleagues in math and language”<br />
group of people after the next election cycle.<br />
Why new standards? Music educators (as well<br />
as other non value-added tested subject area teachers)<br />
have not been as susceptible to the frequency of<br />
change in standards and curricula as our colleagues<br />
in math and language. Since 1994, the Nine National<br />
Standards for Music Education have been in place.<br />
These standards are fairly general, so many states<br />
expanded them to align with more specific curricular<br />
models (Danielson, Marzano, etc.) 20 years, however,<br />
is a long time, and the educational, scientific and<br />
cultural landscapes have changed drastically since<br />
then. The focus on STEM courses (science, technology,<br />
engineering and math), for instance, is part<br />
If music educators are going to present our<br />
subject as vital to the education of the whole child,<br />
then we must prove that it indeed is. We must show<br />
it. It’s not enough to tell people that what we do<br />
makes our students more thoughtful, more analytical,<br />
more literate, and more human; we must provide<br />
data. Music educators also take pride in how creative<br />
our students are becoming by participating in our<br />
music classes and ensembles. Creation is at the top<br />
of Bloom’s Taxonomy (1994). Way to go, us! I hate<br />
to burst the bubble, but there is nothing inherently<br />
creative about reading notes off a page. <strong>No</strong>te reading<br />
is a very basic skill, near the bottom of Bloom’s<br />
Taxonomy. Likewise, interpreting the gestures of<br />
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TM | <strong>Vol</strong>ume <strong>67</strong> number 1
a conductor might make for beautiful music, but it<br />
doesn’t reach the higher levels of evaluating, analyzing<br />
and creating.<br />
The National Core Arts Standards (2014), or<br />
NCAS, aim to help our students get there. What is the<br />
basis for the new standards? The NCAS were based<br />
upon the curricular model “Understanding by Design”<br />
by Williams and McTighe (2005). This model advocates<br />
for “backward design,” which means beginning<br />
your lesson planning with expected outcomes, and<br />
ending by choosing activities that will help the students<br />
achieve those outcomes. The NCAS<br />
also uses the language from Williams and McTighe<br />
when categorizing the standards, which I will explain<br />
later in this article.<br />
The NCAS were written with 21st Century<br />
Skills in mind. You probably have heard this term<br />
thrown around before, but what exactly are 21st century<br />
skills? These were coined by the Partnership for<br />
21st Century Skills (2002), a conglomerate of U.S.<br />
companies that seeks to create future employees that<br />
will compete in the global marketplace. These skills<br />
are: Critical thinking and problem solving,<br />
Creativity and innovation, Communication and collaboration,<br />
and Cross-disciplinary thinking. One of<br />
the goals of the NCAS is to develop these skills in our<br />
students so they can be successful, not only in music,<br />
but in life.<br />
The NCAS writing team recognized the variety<br />
of ways that music instruction is being delivered in<br />
schools across the country, and organized the standards<br />
around several areas of study: Music (general),<br />
Harmonizing Instruments, Composition and Theory,<br />
Traditional and Emerging Ensembles, and Technology.<br />
This means that the general music teacher who sees<br />
her students once a week for thirty- minutes will have<br />
a unique set of standards for her students, as will the<br />
high school band director who sees his students for an<br />
hour and a half every day, as will the middle school<br />
guitar ensemble teacher. There are, however, some<br />
things that are common across the areas. The NCAS<br />
are based on four Common Anchor Standards: Create,<br />
Perform, Respond and Connect.<br />
- Continued on Page 49<br />
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29
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A Pilot Study: The Burden of Assessment<br />
Michael Catalano & Jamila L. McWhirter<br />
Teacher assessment is an important topic<br />
for music educators. Many changes have occurred<br />
recently with the “Race To the Top” incentive<br />
program, the implementation of Common Core<br />
Standards, and the <strong>Tennessee</strong> Educator Acceleration<br />
Model (TEAM).<br />
Arts specialists are assessed regularly by<br />
administrators who appear to have little or no training<br />
in these subjects. However, these administrators<br />
are to evaluate arts teachers on content knowledge<br />
in their areas. On several occasions, I have spoken<br />
with fellow music educators who feel that it is unfair<br />
for an administrator to score for content knowledge<br />
when the administrators themselves do not typically<br />
possess this knowledge.<br />
My original idea for a pilot study was to explore<br />
administrator efficacy regarding assessment of<br />
arts specialists, more specifically music specialists.<br />
When trying to find studies that dealt with administrator<br />
efficacy, I was not successful in locating information<br />
on the subject from the perspective of the<br />
administrator. I spoke informally with an administrator<br />
about how he felt about having to observe<br />
music teachers. He expressed a little discomfort<br />
in having to assess music teachers, but that “good<br />
teaching is good teaching” regardless of subject matter.<br />
Therefore, I began to wonder, “What does<br />
good teaching look like?” Can it “look like” good<br />
teaching and not actually be appropriate for the<br />
students in the class? As my thoughts began to take<br />
shape, I constructed a survey that asked administrators<br />
how they felt about assessing music teachers. In<br />
addition, I embedded a video of a short music lesson<br />
into the survey that was to be scored for the teacher<br />
content knowledge portion of the TEAM rubric.<br />
I designed a lesson that focused on teaching<br />
sixteenth notes to a class of first grade students. The<br />
person I chose to teach the lesson is a colleague who<br />
is an academic coach and an amazing teacher. She<br />
does have a degree in music although it is not in music<br />
education. She has had no prior experience teaching<br />
general music in the public school. The lesson itself<br />
was designed mostly using the format as laid out by<br />
the book Explicit Direct Instruction: The Power of<br />
the Well-Crafted, Well-Taught Lesson. The lesson<br />
started with a clear daily target followed by accessing<br />
prior knowledge using the rhythm/visual icons (Coke<br />
and Pepsi) that were used to teach quarter and eighth<br />
notes. A new icon was introduced to represent the<br />
sixteenth notes (Dr. Pepper) and was then followed by<br />
some rhythm reading by the class. The lesson ended<br />
with the students learning a the song “<strong>No</strong> One’s In the<br />
House But Dinah” that had within it a sixteenth note<br />
grouping that the students were to try and identify,<br />
followed by the reiteration of the clear daily target.<br />
The lesson was constructed to exhibit great teacher<br />
qualities and techniques, such as using strategies that<br />
involve different modalities, good structure and pacing,<br />
meaningful repetition, pair sharing, etc. However,<br />
there were also items included that a person trained<br />
in music education would recognize as inappropriate,<br />
such as singing in a range that is too low, randomly<br />
using different rhythm syllables, teaching a song inappropriately,<br />
and teaching content several grade levels<br />
beyond the recommended standards.<br />
The survey was sent to administrators across<br />
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the state of <strong>Tennessee</strong>, but only forty-three responded.<br />
The survey consisted of 11 multiple-choice questions,<br />
a 15-minute lesson, and one short answer question.<br />
Twenty-seven studied general music in public school<br />
with the rest having varying degrees of musical experience<br />
throughout their career. Two respondents held<br />
degrees in music, although their specific area of musical<br />
expertise was not mentioned.<br />
Thirty-seven participants responded that they<br />
were either “comfortable” or “very comfortable” with<br />
observing and scoring music teachers. Only six of the<br />
participants were “somewhat” to “not comfortable.”<br />
Another question asked how they felt about using<br />
the TEAM rubric to assess teachers of non-tested<br />
subjects. Twenty-nine participants responded that it<br />
needs improvement or should be changed completely.<br />
However, thirteen participants expressed that the<br />
TEAM rubric does not need any changes for assessing<br />
teachers of non-tested subject areas. Another question<br />
asked if they had ever given a music teacher a<br />
“1” in teacher content knowledge and five participants<br />
answered “yes.” When asked if they felt it was fair to<br />
combine student’s scores in math and reading together<br />
with observations to get an educator score for special<br />
area teachers twenty-six replied “no” while fifteen<br />
responded “yes.”<br />
The lesson, according to state standards, is<br />
inappropriate for first graders. Sixteenth notes are not<br />
typically introduced until the third grade. <strong>No</strong>t one<br />
administrator remarked on this element even though<br />
a majority of the respondents indicated that they were<br />
knowledgeable of the state standards for music.<br />
The majority of respondents scored the lesson<br />
at a “3” or above in the area of teacher content knowledge,<br />
even though the music content issues stated<br />
earlier were evident. One administrator, who scored<br />
the lesson as a “5”, expressed that the “teacher demonstrated<br />
content mastery.” Other respondents who<br />
scored the lesson a “4 “made note that “she covered<br />
the standards,” and “displayed accurate content knowledge.”<br />
Only one administrator mentioned that some<br />
students were having issues reading the sixteenth note<br />
icons, stating “the confusion of understanding of the<br />
sound start is a bit bothersome- many student(s) were<br />
early in their start of the eighth notes or sixteenth<br />
notes after the quarter. The instructor did not make the<br />
start of sound groups as much a focus as necessary.”<br />
It is interesting to note that this respondent was one of<br />
two that had a degree in music. Another respondent<br />
said that “as a class it sounded like 100% mastery,”<br />
which was not true of the lesson in the video clip.<br />
Another administrator who gave the lesson a<br />
“3” commented that there was “no extended writing”<br />
in the lesson. This was an interesting comment to me<br />
as I considered if a music teacher in this administrator’s<br />
school would be required to have writing assignments<br />
with every lesson to get a score higher than “3”<br />
on their observation? I fear this may be the case for<br />
numerous music educators.<br />
When analyzing the short answer responses I<br />
came across a few similarities. Eight respondents commented<br />
about the effectiveness of using many different<br />
strategies to help students gain mastery. Six respondents<br />
commented on the vast knowledge of the content<br />
possessed by the teacher. Five noted that they had seen<br />
evidence that the students had mastered the target.<br />
When my colleague taught the song “<strong>No</strong><br />
One’s In the House but Dinah,” she did not break it<br />
into smaller segments. She taught the whole song with<br />
words, melody, and movement simultaneously. As music<br />
educators we know that teaching line by line is the<br />
most effective strategy. <strong>No</strong>t one administrator commented<br />
about this issue. She also began the song in too<br />
low a key for 1st grade voices and she modulated to<br />
an even lower key after singing it a few times. Again,<br />
not one administrator took note. Sixteenth notes were<br />
taught using the words “Dr. Pepper” but also “takadimi”<br />
was used without any explanation. <strong>No</strong>ne of the<br />
administrators commented on this inconsistency.<br />
This pilot study has shown that “good” teaching<br />
techniques may disguise issues in content knowledge.<br />
Unfortunately, the administrator evaluating the<br />
music teacher may not even recognize these content<br />
knowledge issues due to lack of training in the content<br />
area. Beginning music educators may not get the feedback<br />
that they truly need. In addition, music educators<br />
who are very skilled in content knowledge may not<br />
receive the higher score they deserve because of the<br />
lack of knowledge of the administrator. Administrators<br />
need to be equipped with the proper training to really<br />
assist their specialists through the process of TEAM<br />
evaluations. Further discussion on this issue may<br />
include the possibility of others conducting the TEAM<br />
evaluations of arts specialists, such as university music<br />
education faculty or retired, veteran music educators.<br />
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Practice Personalities: What’s your type?<br />
Thornton Cline<br />
Recently I was asked by a fellow ASTA colleague<br />
Alessandra Schneider-Leopold to write an article on a<br />
summary of my new Centerstream/Hal Leonard book,<br />
Practice Personalities: What’s Your Type? This was a<br />
result of my recent teacher workshop Practice Personalities<br />
which was held at Music and Arts located at<br />
Arundel Mall in Hanover, Maryland.<br />
Practice Personalities was written based on<br />
my research of over twenty five years of teaching<br />
in the private and public venues. During that time I<br />
interviewed and observed over one thousand music<br />
students from elementary to adults. Students were at<br />
all levels of ability. They studied various instruments<br />
from the string, woodwind, brass and percussion categories.<br />
As a result of the interviews, observations and<br />
teaching experiences, I discovered nine music personalities<br />
that were evident in these students. I named<br />
them” Practice Personalities”. Each practice personality<br />
has specific traits or characteristics associated with<br />
it. In my observations I found that no two students<br />
are exactly alike and no “one size fits all” teaching<br />
strategy is successful for all students.<br />
This observation and interview research<br />
evolved out of the necessity to be able to reach each<br />
student with a tailor-made teaching strategy. For so<br />
many years I had been teaching utilizing general<br />
strategies which were supposed to be a fit for all of<br />
my music students. Unfortunately, there were quite<br />
a few students I was unable to reach successfully due<br />
to this “one size fits all” approach. I believe that there<br />
are teachers today who continue to teach without using<br />
any tailor-made strategies. They, like myself, need to<br />
continually think “outside the box”. If we can identify<br />
and understand these nine practice personalities in music<br />
students, we are able to effectively teach, motivate<br />
and inspire them. We need to try to accept the practice<br />
personalities of our students and not try to think of<br />
these personalities as necessarily positive or negative.<br />
We, as teachers, need to develop effective and efficient<br />
teaching strategies tailored to each of the practice<br />
personalities. <strong>No</strong>tice I use the words practice personalities<br />
in the plural form. I have discovered that most<br />
music students have more than one practice personality.<br />
This is why I coined the ninth personality description,<br />
“Build Your Own Personality” in my book. I<br />
have provided useful monitoring charts in chapter 18.<br />
Each practice personality is listed with the characteristics<br />
and traits of that specific personality. Teachers<br />
can track each student’s practice personality or personalities<br />
from a period of one month to one year. Once<br />
these personalities are determined, effective teaching<br />
strategies can be used to tailor fit each student’s<br />
personality. I have included some effective teaching<br />
strategies tailor-made for each practice personality<br />
in chapter 14 of my book. I have also provided some<br />
motivational rewards in chapter 16.<br />
Some important information to keep in mind<br />
about personalities is that they cannot solely be linked<br />
to the DNA of a human. In Lynda L. Warwick’s, The<br />
Everything Psychology Book, she states the following<br />
factors that can influence personalities: race, gender<br />
and age, physical attributes, heredity, environment,<br />
rewards and punishments, and among other factors.<br />
Warwick states that many of us today are multifaceted;<br />
we project a different personality depending<br />
on whom we encounter. An example of that would be<br />
the difference between personality when a student is<br />
around his or her school principal or teacher versus a<br />
student’s personality around his or her closest friend.<br />
In conclusion, I believe that teachers can be<br />
more effective in reaching their music students if they<br />
think in terms of identifying and understanding these<br />
nine practice personalities that are discussed in detail<br />
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in my new book. We need to stop thinking that all music students are the same when it comes to personalities<br />
and stop using the “one size fits all” teaching strategies. Once we can develop and apply the tailor-made teaching<br />
strategies for each personality or personalities, our music students can learn more effectively and efficiently<br />
than before. It will require a lot of patience, persistence, praise and encouragement from us. It will take a lot of<br />
energy and hard work. Basically, it won’t be easy. But, as we know, anything worthwhile takes lot of hard work<br />
and dedication. If we call ourselves teachers, we need to realize why we wanted to become teachers in the first<br />
place. It wasn’t because we wanted to make a lot of money, or to become rich and famous or just because we<br />
wanted to try something new. If we are doing it for the right reasons, it is all because of our love and passion for<br />
our students and music. TM<br />
Thornton Cline is an in-demand performer, clinician and teacher. Author of the book and DVD, Practice Personalities: What’s Your<br />
Type on Centerstream/Hal Leonard, Cline has been invited as a featured speaker at music stores, book stores, state and national conventions<br />
throughout the United States. His violin performances have been heard in the Ryman Auditorium to the Kennedy Center for<br />
the Performing Arts. He has recorded and performed with such artists as Brenda Lee to the Gaithers to Chris Golden of the Oak Ridge<br />
Boys. Twice winner of the Songwriter of the Year Award by the <strong>Tennessee</strong> Songwriters Association and nominated for Dove Awards,<br />
Cline has had his original songs recorded by over 150 major and independent artists. Cline is director of the acclaimed Nashville<br />
Suzuki Players, concertizing with television appearances in 10 states in the Southeast. He is registered as a Suzuki violin teacher in<br />
books 1-5 with the Suzuki Association of Americas. Cline has written numerous articles for such journals such as the American String<br />
Teacher and Choral Journal. His educational choral and string works are published with Alfred Music Publishing; Lawson-Gould<br />
(Music 70 Publishers and Bourne Company in New York. He is a frequent reviewer for the American String Teacher and a long-time<br />
member of ASTA. Cline teaches violin, piano and guitar and is on the faculty of Cumberland University in Lebanon, <strong>Tennessee</strong>.<br />
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33
TM<br />
Why Music Education?<br />
Facts & Insights on the Benefits of Music Study<br />
“Every student in the nation should have an<br />
education in the arts.” This is the opening statement<br />
of The Value and Quality of Arts Education: A Statement<br />
of Principles, a document from the nation’s ten<br />
most important educational organizations, including<br />
the American Association of School Administrators,<br />
the National Education Association, the National<br />
Parent Teacher Association, and the National School<br />
Boards Association.<br />
The basic statement is unlikely to be challenged<br />
by anyone involved in education. In the sometimes<br />
harsh reality of limited time and funding for<br />
instruction, however, the inclusion of the arts in every<br />
student’s education can sometimes be relegated to a<br />
distant wish rather than an exciting reality.<br />
It doesn’t have to be that way! All that’s<br />
needed is a clear message sent to all those who must<br />
make the hard choices involved in running a school or<br />
school system. The basic message is that music programs<br />
in the schools help our kids and communities<br />
in real and substantial ways. You can use the following<br />
facts about the benefits of music education, based<br />
on a growing body of convincing research, to move<br />
decision-makers to make the right choices.<br />
The benefits conveyed by music education can be<br />
grouped in four categories:<br />
· Success in society<br />
· Success in school and learning<br />
· Success in developing intelligence<br />
· Success in life<br />
When presented with the many and manifest<br />
benefits of music education, officials at all levels<br />
should universally support a full, balanced, sequential<br />
course of music instruction taught by qualified teachers.<br />
And every student will have an education in the<br />
arts.<br />
SUCCESS IN SOCIETY<br />
Perhaps the basic reason that every child must<br />
have an education in music is that music is a part of<br />
the fabric of our society. The intrinsic value of music<br />
for each individual is widely recognized in the many<br />
cultures that make up American life — indeed, every<br />
human culture uses music to carry forward its ideas<br />
and ideals. The importance of music to our economy<br />
is without doubt. And the value of music in shaping<br />
individual abilities and character are evident. – NAfME<br />
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Why Music Education?<br />
Data shows that high earnings are not just associated<br />
with people who have high technical skills. In fact,<br />
mastery of the arts and humanities is just as closely<br />
correlated with high earnings, and, according to our<br />
analysis, that will continue to be true. History, music,<br />
drawing, and painting, and economics will give our<br />
students an edge just as surely as math and science<br />
will. – Tough Choices or Tough Times: The report<br />
of the new commission on the skills of the American<br />
workforce, 2007, page 29.<br />
The arts provide one alternative for states<br />
looking to build the workforce of tomorrow – a choice<br />
growing in popularity and esteem. The arts can provide<br />
effective learning opportunities to the general<br />
student population, yielding increased academic<br />
performance, reduced absenteeism, and better skill<br />
building. An even more compelling advantage is the<br />
striking success of arts-based educational programs<br />
among disadvantaged populations, especially at-risk<br />
and incarcerated youth. For at-risk youth, that segment<br />
of society most likely to suffer from limited lifetime<br />
productivity, the arts contribute to lower recidivism<br />
rates; increased self-esteem; the acquisition of job<br />
skills; and the development of much needed creative<br />
thinking, problem solving and communications skills.<br />
Involvement in the arts is one avenue by which at-risk<br />
youth can acquire the various competencies necessary<br />
to become economically self-sufficient over the long<br />
term, rather than becoming a financial strain on their<br />
states and communities. – The Impact of Arts Education<br />
on Workforce Preparation, May 2002, The National<br />
Governors Association.<br />
The abilities associated with the humanities<br />
and the arts are vital, both to the health of individual<br />
nations and to the creation of a decent world culture.<br />
These include the ability to think critically, to transcend<br />
local loyalties and to approach international<br />
problems as a “citizen of the world”. And, perhaps<br />
most important, the ability to imagine sympathetically<br />
the predicament of another person. One of the best<br />
ways to cultivate sympathy is through instruction in<br />
literature, music, theatre, fine arts and dance.<br />
When people put on a play or a dance piece together,<br />
they learn to cooperate – and find they must go<br />
beyond tradition and authority if they are going to express<br />
themselves well. The sort of community created<br />
by the arts is non-hierarchical – a model of the responsiveness<br />
and inter-activity that a good democracy will<br />
also foster in its political processes. And not the least,<br />
the arts can be a great source of joy. Participation in<br />
plays, songs and dances fills children with happiness<br />
that can carry over into the rest of their education.<br />
We need to favor an education that cultivates<br />
the critical capacities, that fosters a complex understanding<br />
of the world and its peoples and that educates<br />
and refines the capacity for sympathy. In short, an<br />
education that cultivates human beings rather than<br />
producing useful machines. If we do not insist on the<br />
crucial importance of the humanities and the arts, they<br />
will drop away. They don’t make money; but they do<br />
something far more precious; they make the world<br />
worth living in.<br />
– Martha Nussbaum, Ernst Freund Distinguished Service<br />
Professor of Law and Ethics, University of Chicago;<br />
Newsweek International, August 21 – 18, 2006;<br />
“Teaching Humanity”.<br />
Secondary students who participated in band<br />
or orchestra reported the lowest lifetime and current<br />
use of all substances (alcohol, tobacco, illicit drugs). –<br />
Texas Commission on Drug and Alcohol Abuse Report.<br />
Reported in Houston Chronicle, January 1998.<br />
The U.S. Department of Education lists the arts<br />
as subjects that college-bound middle and junior high<br />
school students should take, stating “Many colleges<br />
view participation in the arts and music as a valuable<br />
experience that broadens students’ understanding and<br />
appreciation of the world around them. It is also well<br />
known and widely recognized that the arts contribute<br />
significantly to children’s intellectual development.”<br />
In addition, one or two years of Visual and Performing<br />
Arts is recommended for college-bound high school<br />
students. – Getting Ready for College Early: A Handbook<br />
for Parents of Students in the Middle and Junior<br />
High School Years, U.S. Department of Education,<br />
1997.<br />
The fact that choral singing is a communal activity<br />
is especially significant today when we increasingly<br />
rely on internet-based communications, rather<br />
36 www.tnmea.org<br />
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Why Music Education?<br />
than face-to-face interaction. Several recent studies<br />
have shown a significant decline in civic engagement<br />
in our communities. Robert Putnam, Harvard University’s<br />
Kennedy School of Government scholar, asserts<br />
that the significance of choral singing goes beyond<br />
music making, and even beyond the arts. He sees<br />
group performing as contributing directly to the social<br />
trust and reciprocity that is the basis of civic engagement.<br />
His work shows that the mere existence of choral<br />
groups helps foster America’s democratic culture.<br />
Chorus America found that choral singers are<br />
far more likely to be involved in charity work, as volunteers<br />
and as donors (76 %), than the average person<br />
(44% according to a 2001 report by Independent Sector).<br />
Choral singers are also more than twice as likely<br />
as non-participants to be aware of current events and<br />
involved in the political process. They are also twice<br />
as likely as the general public to be major consumers<br />
of other arts – and not just music. – America’s Performing<br />
Art: A Study of Choruses, Choral Singers, and<br />
their Impact (Chorus Impact Study, 2003).<br />
SUCCESS IN SCHOOL AND LEARNING<br />
Success in society, of course, is predicated on<br />
success in school. Any music teacher or parent of a<br />
music student can call to mind anecdotes about effectiveness<br />
of music study in helping children become<br />
better students. Skills learned through the discipline<br />
of music, these stories commonly point out, transfer<br />
to study skills, communication skills, and cognitive<br />
skills useful in every part of the curriculum. Another<br />
common variety of story emphasizes the way that the<br />
discipline of music study — particularly through participation<br />
in ensembles — helps students learn to work<br />
effectively in the school environment. – NAfME<br />
The term ‘core academic subjects’ means English,<br />
reading or language arts, mathematics, science,<br />
foreign languages, civics and government, economics,<br />
arts, history, and geography.”<br />
– <strong>No</strong> Child Left Behind Act of 2002, Title IX, Part A,<br />
Sec. 9101 (11)<br />
“When I hear people asking how do we fix the<br />
education system, I tell them we need to do the opposite<br />
of what is happening, cutting budgets by cutting<br />
music programs…. <strong>No</strong>thing could be stupider than<br />
removing the ability for the left and right brains to<br />
function. Ask a CEO what they are looking for in an<br />
employee and they say they need people who understand<br />
teamwork, people who are disciplined, people<br />
who understand the big picture. You know what they<br />
need? They need musicians.” – Former Arkansas Governor<br />
Mike Huckabee, MENC Centennial Congress,<br />
Orlando, Florida, June 2007.<br />
Schools that have music programs have significantly<br />
higher graduation rates than do those without<br />
programs (90.2% as compared to 72.9%). In addition,<br />
those that rate their programs as “excellent” or “very<br />
good” have an even higher graduation rate (90.9%).<br />
Schools that have music programs have significantly<br />
higher attendance rates than do those without programs<br />
(93.3% as compared to 84.9%). –Harris Interactive<br />
poll of high school principals conducted Spring<br />
2006; funded by NAfME and NAMM.<br />
Students in high-quality school music programs<br />
score higher on standardized tests compared<br />
to students in schools with deficient music education<br />
programs, regardless of the socioeconomic level of<br />
the school or school district. Students in top-quality<br />
music programs scored 22% better in English and 20%<br />
better in math than students in deficient music programs.<br />
Students in top-quality instrumental programs<br />
scored 19% higher in English than students in schools<br />
without a music program. Students in top quality instrumental<br />
programs scored 17% higher in math than<br />
children in schools without a music program. Students<br />
at schools with excellent music programs had higher<br />
English and math test scores across the country than<br />
students in schools with low-quality music programs.<br />
Students in all regions with lower-quality instrumental<br />
programs scored higher in English and math than<br />
students who had no music at all. – NAfME Journal<br />
of Research in Music Education, Winter 2006, vol.<br />
54, <strong>No</strong>. 4, pgs. 293- 307; “Examination of Relationship<br />
between Participation in School Music Programs<br />
of Differing Quality and Standardized Test Results”<br />
Christopher M. Johnson and Jenny E. Memmott, University<br />
of Kansas.<br />
38 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
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of <strong>Tennessee</strong> <strong>Musician</strong> and other<br />
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39
TM<br />
Why Music Education?<br />
Students of the arts continue to outperform their nonarts<br />
peers on the SAT, according to reports by the College<br />
Entrance Examination Board. In 2006, SAT takers<br />
with coursework/experience in music performance<br />
scored 57 points higher on the verbal portion of the<br />
test and 43 points higher on the math portion than<br />
students with no coursework or experience in the arts.<br />
Scores for those with coursework in music appreciation<br />
were 62 points higher on the verbal and 41 points<br />
higher on the math portion. – The Student Descriptive<br />
Questionnaire, a self-reported component of the SAT<br />
that gathers information about students’ academic<br />
preparation, gathered data for these reports. Source:<br />
The College Board, Profile of College-Bound Seniors<br />
National Report for 2006.<br />
Schools that have higher levels of student<br />
participation in the fine arts receive higher academic<br />
ratings and have lower dropout rates. Average student<br />
enrollment in fine arts courses is 17 percent points<br />
higher in high schools that are rated “exemplary” than<br />
in those rated “low performing”, based on data from<br />
the Texas Education Agency on 951 high schools.<br />
Schools with the lowest dropout rates on average<br />
have 52% of their students enrolled in fine arts classes<br />
while schools with the highest dropout rates have only<br />
42% of their students in fine arts courses. The data<br />
from 864 middle schools followed the same trend<br />
as high schools. – Analysis conducted by the Texas<br />
Coalition for Quality Arts Education and the Texas<br />
Music Educators Association.<br />
Nearly 100% of past winners in the prestigious<br />
Siemens Westinghouse Competition in Math, Science<br />
and Technology (for high school students) play one<br />
or more musical instruments. This led the Siemens<br />
Foundation to host a recital at Carnegie Hall in 2004,<br />
featuring some of these young people, after which a<br />
panel of experts debated the nature of the apparent<br />
science/music link. – The Midland Chemist (American<br />
Chemical Society) <strong>Vol</strong>. 42, <strong>No</strong>.1, Feb. 2005.<br />
The Georgia Project found that school districts<br />
in Georgia that made staffing and funding of their arts<br />
programs a priority tended to have higher overall rates<br />
of student participation in the arts, and higher rates<br />
of arts student retention. Such districts tend to have<br />
lower dropout rates in grades 9 – 12 and thus keep<br />
their students in school longer and graduate more of<br />
them. Students tended to score higher on achievement<br />
and performance tests, such as the SAT and<br />
Georgia High School Graduation Test. They tended<br />
to graduate more of their students with college prep<br />
diplomas, percentages increasing with diversity of<br />
arts curriculum and percent of students participating.<br />
While these findings do not prove a cause and effect<br />
relationship, they do indicate “strong arts programs<br />
need not come at the expense of academic achievement.<br />
Rather, the arts are an important factor in<br />
achieving academic excellence.” – Executive Summary,<br />
The Georgia Project: A Status Report on Arts<br />
Education in the State of Georgia, 2004; Dr. John<br />
Benham, President, Music in World Cultures Program,<br />
Bethel University, St. Paul, MN.<br />
“Music is an extremely rich kind of experience<br />
in the sense that it requires cognition, it requires<br />
emotion, it requires aesthetics, it develops<br />
performance skills, individual capabilities. These<br />
things have to be developed and all have to be<br />
synchronized and integrated so that, as a person<br />
learns music, they stretch themselves mentally in a<br />
variety of ways. What we are finding is that the kind<br />
of mental stretching that takes place can be of value<br />
more generally, that is, to help children in learning<br />
other things. And these other things, in turn, can<br />
help them in the learning of music, so that there is a<br />
dialogue between the different kinds of learning.” –<br />
from the Music in Education National Consortium,<br />
Journal for Learning through Music, Second Issue,<br />
Summer 2003, “What Makes Music Work for Public<br />
Education?” – pg. 87 Dr. Martin F. Gardiner, Brown<br />
University<br />
Harvard Project Zero researcher Larry Scripp<br />
investigated how intensive music study could serve<br />
as the basis for academic excellence. His research<br />
at Conservatory Lab Charter School attempted to<br />
identify innovative ways to incorporate music into<br />
the curriculum and then measure its impact. Among<br />
his findings: notational skills in music, not musical<br />
performance, correlate positively with achievement<br />
in math and reading. According to Scripp, “The ability<br />
to process musical symbols and representations,<br />
a skill relegated to the training of the talented few in<br />
40 www.tnmea.org<br />
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Why Music Education?<br />
the past, is a leading predictor of music’s association<br />
with learning in other subject areas”. He also found<br />
that musical pitch is more predictive of mathematical<br />
ability while rhythm is more predictive of reading<br />
ability.<br />
James Catterall (Prof. of Education, UCLA)<br />
stated, in response to Scripp, that “since our education<br />
systems ideally focus on academic and social development,<br />
the arts should legitimately be considered in the<br />
array of potential instructional strategies contributing<br />
to these goals”. — EXCERPTED from Terry Teitelbaum,<br />
Stephanie F. Gillis, “Arts Education: A Review<br />
of the Literature”, Blueprint Research and Design,<br />
Inc.; prepared for the Performing Arts Program of the<br />
William and Flora Hewlett Foundation.<br />
SUCCESS IN DEVELOPING INTELLIGENCE<br />
Success in school and in society depends on an<br />
array of abilities. Without joining the intense ongoing<br />
debate about the nature of intelligence as a basic<br />
ability, we can demonstrate that some measures of a<br />
child’s intelligence are indeed increased with music<br />
instruction. Once again, this burgeoning range of data<br />
supports a long-established base of anecdotal knowledge<br />
to the effect that music education makes kids<br />
smarter. What is new and especially compelling, however,<br />
is a combination of tightly controlled behavioral<br />
studies and ground breaking neurological research that<br />
show how music study can actively contribute to brain<br />
development. – NAfME<br />
Results of an IQ test given to groups of children<br />
(total: 144) who were provided with lessons in<br />
keyboard, voice, drama or no lessons at all, showed<br />
that the IQ of students in the keyboard or voice classes<br />
increased from their pre-lesson IQ score, more than<br />
the IQ of those students taking drama or no lessons.<br />
Generally these increases occurred across IQ subtests,<br />
index scores, and academic achievement. – Summary<br />
by NAfME; Original source: August 2004, Psychological<br />
Science, a journal of the American Psychological<br />
Society; Dr. E. Glenn Schellenberg (University of<br />
Toronto).<br />
Children with music training had significantly<br />
better verbal memory than those without such training,<br />
and the longer the training, the better the verbal<br />
memory. Researchers studied 90 boys between the<br />
ages of 6 and 15. Half had musical training as members<br />
of their school’s string orchestra program, plus<br />
lessons in playing classical music on Western instruments<br />
like the flute or violin for one to five years.<br />
The other 45 students had no training. Students with<br />
musical training recalled more words in a verbal<br />
memory test than did untrained students, and after a<br />
30-minute delay, students with training also retained<br />
more words than the control group. In a follow-up one<br />
year later, students who continued training and beginners<br />
who had just started learning to play both showed<br />
improvement in verbal learning and retention. – Summary<br />
by NAfME. Original source: Ho, Y. C., Cheung,<br />
M. C., & Chan, A. Music training improves verbal but<br />
not visual memory: cross-sectional and longitudinal<br />
explorations in children (2003) Neuropsychology, 12,<br />
439-450.<br />
A 2004 Stanford University study showed that<br />
mastering a musical instrument improves the way the<br />
human brain processes parts of spoken language. In<br />
two studies, researchers demonstrated that people with<br />
musical experience found it easier than non-musicians<br />
to detect small differences in word syllables. They also<br />
discovered that musical training helps the brain work<br />
more efficiently in distinguishing split-second differences<br />
between rapidly changing sounds that are essential<br />
to processing language. About 40 adults, divided<br />
into groups of musicians and non-musician, matched<br />
by age, sex, general language ability and intelligence,<br />
were tested. To qualify, the musicians need to have<br />
started playing instruments before age 7 and never<br />
stopped, practicing several hours/week. Functional<br />
magnetic resonance imaging showed the musicians<br />
had more focused, efficient brain activity. “This is the<br />
first example showing how musical training alters how<br />
your brain processes language components.” – Prof.<br />
John Gabrieli, former Stanford psychology professor,<br />
now associate director of MIT’s Athinoula A. Martinos<br />
Center for Biomedical Imaging (<strong>No</strong>v. 2005).<br />
Young children who take music lessons show<br />
different brain development and improved memory<br />
over the course of a year, compared to children who<br />
do not receive musical training. The brains of musically<br />
trained children respond to music in a different<br />
way to those of untrained children, and that the musi-<br />
42 www.tnmea.org<br />
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Bachelor of Music • Bachelor of Arts • Master of Music<br />
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Why Music Education?<br />
cal training improves their memory. After one year<br />
the musically trained children performed better in a<br />
memory test that is correlated with general intelligence<br />
skills such as literacy, verbal memory, Visio spatial<br />
processing, mathematics and IQ. Dr. Laurel Trainer,<br />
Prof. of Psychology, Neuroscience, and Behavior at<br />
McMaster University, Director of the McMaster Institute<br />
for Music and the Mind.<br />
Playing a musical instrument significantly<br />
enhances the brainstem’s sensitivity to speech sounds.<br />
This relates to encoding skills involved with music<br />
and language. Experience with music at a young age<br />
can “fine-tune” the brain’s auditory system. – from a<br />
study supported by <strong>No</strong>rthwestern University, grants<br />
from the National Institutes of Health, and the National<br />
Science Foundation. Nina Kraus, director of NWU’s<br />
Auditory Neuroscience Laboratory and senior author<br />
of the study, which appeared in April 2007 Nature<br />
Neuroscience. Other contributing researchers/authors:<br />
Patrick Wong, primary author “Musical Experience<br />
Shapes Human Brainstem Encoding of Linguistic<br />
Pitch Patterns” Other researchers Erika Skoe, Nicole<br />
Russo, Tasha Dees.<br />
A study of 31 children found that children who<br />
received keyboard instruction for two years beginning<br />
at age 3 continued to score higher on spatial-temporal<br />
and arithmetic tasks two years after the instruction<br />
was terminated (Rauscher & LeMieux, 2003). The age<br />
at which children begin instruction appears to affect<br />
the duration of extra-musical cognitive outcomes, and<br />
longitudinal research suggests that at least two years<br />
of music instruction are required for sustained enhancement<br />
of spatial abilities (Rauscher, 2002); ERIC<br />
Clearinghouse on Early Education and Parenting , Can<br />
Music Instruction Affect Children’s Cognitive Development?<br />
ERIC Digest; Frances H. Rauscher; ERIC<br />
Identifier: ED480540, Publication Date: 09/2003.<br />
“Academic work is really about certain types<br />
of deductive reasoning, and especially some forms of<br />
verbal and mathematical reasoning. Developing these<br />
abilities is an essential part of education. But if intelligence<br />
were limited to academic ability most of human<br />
culture would never have happened. There’d be no<br />
practical technology, business, music, art, literature,<br />
architecture, love, friendship or anything else. These<br />
are big ideas to leave out of our common-sense view<br />
of intelligence and educational achievement.” Sir Ken<br />
Robinson, Senior Advisor, Education Policy, Getty<br />
Foundation, in an Arts and Minds: Conversations<br />
about the Arts interview; Education Commission of<br />
the States, April 2005 How Creativity, Education and<br />
the Arts Shape a Modern Economy.<br />
SUCCESS IN LIFE<br />
Each of us wants our children — and the<br />
children of all those around us — to achieve success<br />
in school, success in employment, and success<br />
in the social structures through which we move. But<br />
we also want our children to experience “success” on<br />
a broader scale. Participation in music, often as not<br />
based on grounding in music education during the<br />
formative school years, brings countless benefits to<br />
each individual throughout life. The benefits may be<br />
psychological or spiritual, and they may be physical as<br />
well. – NAfME<br />
To put it simply, we need to keep the arts in<br />
education because they instill in students the habits<br />
of mind that last a lifetime: critical analysis skills, the<br />
ability to deal with ambiguity and to solve problems,<br />
perseverance and a drive for excellence. Moreover, the<br />
creative skills children develop through the arts carry<br />
them toward new ideas, new experiences, and new<br />
challenges, not to mention personal satisfaction. This<br />
is the intrinsic value of the arts, and it cannot be overestimated.<br />
– Education Week, Issue 20, vol. 24, pg. 40,<br />
52; Jan 26, 2005, Rod Paige (former U.S. Secretary<br />
of Education), Mike Huckabee, former Governor of<br />
Arkansas, Education Commission of the States Chairman,<br />
Chairman’s Initiative on the Arts in Education.<br />
“The arts are not just affective and expressive.<br />
They are also deeply cognitive. They develop the tools<br />
of thinking itself: careful observation of the world,<br />
mental representation of what is observed or imagined,<br />
abstraction from complexity, pattern recognition and<br />
development, symbolic and metaphoric representation,<br />
and qualitative judgment. We use these same thinking<br />
tools in science, philosophy, math and history. The advantage<br />
of the arts is that they link cognitive growth to<br />
social and emotional development. Students care more<br />
deeply about what they study, they see the links<br />
44 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
World Class Faculty and Affordable Tuition<br />
Personal Attention and the Benefits of a Large University<br />
New Natalie L. Haslam Music Center<br />
www.music.utk.edu<br />
865-974-3241<br />
The University of <strong>Tennessee</strong> is an EEO/AA/Title VI/Title IX/Section<br />
504/ADA/ADEA institution in the provision of its education and<br />
employment programs and services.<br />
WORKSHOPS<br />
Viola Celebration <strong>No</strong>v 1-2, 2014<br />
Single Reed Day <strong>No</strong>v 7, 2014<br />
Orgelfest Jan 24, 2015<br />
<strong>Tennessee</strong> Cello Workshop Feb 27–Mar 1, 2015<br />
Jazz Festival Mar 7, 2014<br />
Violin Festival Mar 27–28, 2014<br />
45
TM<br />
Why Music Education?<br />
between subjects and their lives, their thinking capacities<br />
grow, they work more diligently, and they learn<br />
from each other.” – Nick Rabkin, Executive Director of<br />
the Center for Arts Policy, Columbia College Chicago;<br />
Robin Redmond, associate director of CAP. “The Art of<br />
Education Success”, Washington Post, January 8, 2005,<br />
pg. A19.<br />
An education rich in the arts and humanities<br />
develops skills that are increasingly crucial to the productivity<br />
and competitiveness of the nation’s workforce:<br />
the ability to think creatively, communicate effectively<br />
and work collaboratively, and to deal with ambiguity<br />
and complexity. Just as important, exposure to the arts<br />
and humanities fosters cultural literacy: the ability to<br />
understand and appreciate other cultures, perspectives<br />
and traditions; to read and understand music and literature;<br />
to craft a letter or essay; to design a Web site;<br />
and to discern the “hidden persuaders” in a political or<br />
commercial advertisement. Arts and humanities education<br />
also develops skills necessary to participate in one<br />
of the fastest-growing, economically significant set of<br />
occupations and industries in the American economy –<br />
the arts, cultural and intellectual property section. The<br />
“creative workforce” – which includes traditional artist<br />
categories (dancers, musicians, painters, actors, photographers,<br />
authors), as well as individuals employed<br />
in advertising, architecture, fashion design, film, video,<br />
music, publishing and software development – is growing<br />
at a rate more than double that for the rest of the nation’s<br />
work forces. – Summary of paper by Prof. Ann M.<br />
Galligan, <strong>No</strong>rtheastern University, in her paper “Creativity,<br />
Culture, Education and the Workforce”, Center<br />
for Arts and Culture, December 2001, www.culturalpolicy.org;<br />
summary provided/written by Suzanne Weiss,<br />
in the “Progress of Education Reform 2004: The Arts<br />
in Education”; vol. 5, no. 1, January 2004, Education<br />
Commission of the States.<br />
While many executives turn to golf, tennis or<br />
boating for recreation, some unwind by making music<br />
together. They may be members of relatively large<br />
organizations like the Park Avenue Chamber Symphony,<br />
whose 55 members are almost all executives,<br />
or of smaller outfits, like a rock ‘n roll band or a jazz<br />
ensemble. Beyond the pure pleasure the music brings,<br />
some executives say, there can be chances to advance<br />
a career. And creating a performance can help<br />
executives develop basic management skills. “If you<br />
are in an improv jazz ensemble or a small chamber<br />
group, you learn to think fast on your feet and how<br />
to be flexible and to collaborate and compromise,<br />
and that may yield a creative outcome.” (J. Richard<br />
Hackman, a professor of organizational psychology<br />
at Harvard University who has studied symphony<br />
orchestras). Amy Zipkin, “Learning Teamwork by<br />
Making Music”, for the New York Times, <strong>No</strong>vember<br />
16, 2003.<br />
“I dream of a day when every child in America<br />
will have in his or her hand a musical instrument,<br />
be it a clarinet, a drumstick or a guitar. And<br />
I dream of a day when there’s no state legislature<br />
that would even consider cutting funding for music<br />
and the arts because they realize that it’s a life skill<br />
that changes the lives of students and gives them not<br />
only better academic capability, but it makes them<br />
better people. We sometimes forget that many of<br />
us in this room, including this guy standing right in<br />
front of you, would not be where he is today if not<br />
for having music introduced in my life because it<br />
gave me the understanding of teamwork, discipline<br />
and focus.” – Mike Huckabee, Former Arkansas<br />
Governor; NAMM University Breakfast Sessions<br />
2007, NAMM Playback Magazine, Spring 2007, pg.<br />
36.<br />
“Music has a great power for bringing people<br />
together. With so many forces in this world acting to<br />
drive wedges between people, it’s important to preserve<br />
those things that help us experience our common<br />
humanity.” – Ted Turner, Turner Broadcasting<br />
System<br />
“Music is one way for young people to<br />
connect with themselves, but it is also a bridge for<br />
connecting with others. Through music, we can introduce<br />
children to the richness and diversity of the<br />
human family and to the myriad rhythms of life.”<br />
– Daniel A. Carp, Eastman Kodak Company Chairman<br />
and CEO<br />
“Casals says music fills him with the wonder<br />
of life and the ‘incredible marvel’ of being a human.<br />
Ives says it expands his mind and challenges him<br />
to be a true individual. Bernstein says it is enrich-<br />
46 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
47
TM<br />
Why Music Education?<br />
ing and ennobling. To me, that sounds like a good cause for making music and the arts an integral part of every<br />
child’s education. Studying music and the arts elevates children’s education, expands students’ horizons, and<br />
teaches them to appreciate the wonder of life.” – U.S. Secretary of Education Richard W. Riley<br />
“The life of the arts, far from being an interruption, a distraction, in the life of the nation, is close to the<br />
center of a nation’s purpose – and is a test to the quality of a nation’s civilization.” – John F. Kennedy<br />
I have made a career doing things that weren’t even invented when I graduated from high school 40<br />
years ago. It will be the same for today’s graduates, only on a sharply accelerating timeline. Much of what I<br />
learned in the classroom is obsolete or, at best, only marginally useful. What has made a difference in my life<br />
has been the ability to learn as I go, to adapt to new ideas, to have the courage to take risks, and to feel confident<br />
I will be able to perform and successfully meet the challenges of new situations. These skills I learned<br />
through participation in band and drama. - Fred Behning retired from IBM Corporation after a 32-year career<br />
that included assignments in systems engineering, product development, management, and customer technology<br />
briefings, and is still an IBM consultant. A life-long musician, Fred plays oboe and English horn in the<br />
Williamson County Symphony Orchestra and the Austin Symphonic Band. TM<br />
National Association for Music Education, Why Music Education?<br />
Facts and Insights on the Benefits of Music Study 2007.<br />
48 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
Vest - National Core Arts Standards: An Introduction continued from page 29:<br />
These Common Anchor Standards encapsulate the Nine National Standards, which should make for easy<br />
transfer between the old and the new. For example, Standard 1 from the old standards, “ Singing, alone and with<br />
others, a varied repertoire of music,” would easily fit under the “Perform” category in the NCAS. Standard 6<br />
from the old standards, “Listening to , analyzing and describing music”, would easily fit under the “Respond”<br />
category in the NCAS. These common anchor standards come from the <strong>Tennessee</strong> Arts Growth Measures System,<br />
colloquially known as the “portfolio evaluation model.” That’s right—the NCAS have their roots here in<br />
<strong>Tennessee</strong>!<br />
Underneath these Common Anchor Standards are the Enduring Understandings and the Essential Questions.<br />
Enduring Understandings are the big ideas that we want our students to leave our classrooms and rehearsal<br />
halls pondering. These go beyond rote knowledge. The statement “Someone who writes music is called<br />
a composer” is rote knowledge. While that is definitely a term we want our students to know, contrast that<br />
statement with, “<strong>Musician</strong>s’ creative choices are influenced by their expertise, context, and expressive intent”<br />
(Shuler, et. al, 2014). With this, students not only define what a “composer” is, but they can explain, and hopefully,<br />
understand how and why a composer makes creative choices. Composing can be a frightening concept for<br />
many students (and teaching it can be frightening to many music educators). When someone truly understands<br />
something, however, it becomes less scary, less intimidating, and is more likely to try it him or herself, which is<br />
ultimately what we want for our students, right?<br />
The final concept in the NCAS are the Essential Questions. These questions are the core ideas and inquiries<br />
within our discipline. They are not answerable with one word, and can’t be succinctly categorized on a<br />
multiple-choice exam. Consider these examples of Essential Questions from the NCAS:<br />
“When is a performance ready to present?” “How do context and the manner in which musical work is presented<br />
influence audience response?” Questions like these allow our students not only to perform music, but<br />
to think critically and speak intelligently about those performances, and hopefully, elicit a stronger (and more<br />
positive) audience response.<br />
This may all seem like a lot of stuff coming from a lot of different places, and it can be confusing. It’s<br />
important to remember that NAfME is, first and foremost, an advocacy group. NAfME (and TMEA, for that<br />
matter) does not enact educational laws or policy; it can only recommend, and at this time, the standards are<br />
only recommendations. There has been no push for these to be adopted at the federal level.<br />
Many states took the Nine National Standards and elaborated on them, building a curriculum map and/<br />
or scope and sequence around them. My assumption is that this will happen with the NCAS, and hopefully,<br />
TMEA will have a part in making that happen in <strong>Tennessee</strong>. There is one important commonality between the<br />
old standards the NCAS; they don’t dictate how you should teach them. You will still be able to bring your own<br />
personal strengths and teaching style into your classroom; after all, that’s what makes you great and what makes<br />
students want to keep coming back to your class.<br />
Should I be using the new standards?<br />
So what should you do right now, today? Throw out the old and start with the new? In <strong>Tennessee</strong>, we<br />
currently have standards for music education based on the Nine National Standards. Keep using these! These<br />
are very good standards with attainable goals for our students. I would suggest looking at the NCAS and trying<br />
to find a way to slowly implement them into your day-to-day lessons, activities and rehearsals. If your school<br />
system is using the <strong>Tennessee</strong> Arts Growth Measures System as part of your evaluation, then you may want to<br />
do even more. The NCAS also includes some “Model Cornerstone Assessments” that can help get you started<br />
with assessment and data collection. If the NCAS are adopted in TN, then you will already have a working<br />
knowledge of them and the transition might not be quite so jarring.<br />
In some ways, we are very lucky that we aren’t the victims of quick policy decisions like our colleagues in<br />
some other content areas. We have time to figure this out! I, for one, am very excited about what these standards<br />
can bring to our field. The music educators in <strong>Tennessee</strong> are some of the finest in the nation, and I look<br />
forward to seeing how we approach this next chapter in our profession. TM<br />
49
TM<br />
2014-2015 <strong>Tennessee</strong> Music Education Association<br />
Board of Directors and Council<br />
TMEA EXECUTIVE BOARD<br />
Executive Director: Ron Meers<br />
129 Paschal Drive<br />
Murfreesboro, TN 37128<br />
H 615-890-9308<br />
C 615-542-5012<br />
execdirector@tnmea.org<br />
President: Jeff Phillips<br />
Hendersonville High School<br />
123 Cherokee Road<br />
Hendersonville, TN 37075<br />
W 615-824-6162 x 31042<br />
H 615-824-4977<br />
C 615-957-9008<br />
jpband@bellsouth.net<br />
President-Elect: Johnathan Vest<br />
University of <strong>Tennessee</strong> at Martin<br />
16 Mt. Pelia Road / 108 Fine Arts<br />
Martin, TN 38238<br />
W 731-881-7482<br />
C 615-579-8700<br />
johnathanvest@att.net<br />
Past President: Dian Eddleman<br />
University School of Jackson<br />
232 McClellan Road<br />
Jackson, TN 38305<br />
W 731-424-3418<br />
H 731-424-3418<br />
C 731-695-8270<br />
deddleman@usjbruins.org<br />
BOARD OF DIRECTORS<br />
State General Music Chair: Charlene Cook<br />
East Ridge Elementary School<br />
1014 John Ross Road<br />
Chattanooga, TN 37412<br />
H 423-629-4123<br />
C 423-304-1072<br />
cookcl@epbfi.com<br />
State Choral Chair: Jan Johnson<br />
Signal Mountain Middle/High School<br />
2650 Sam Powell Trail<br />
Signal Mountain, TN 37377<br />
W 423-886-0880 x 336<br />
C 423-326-8116<br />
johnson _ j@hcde.org<br />
State Orchestra Chair: Ben Reagh<br />
Smyrna High School<br />
100 Bulldog Drive<br />
Smyrna, TN 371<strong>67</strong><br />
W 615-893-5815 x 23720<br />
C 615-519-8086<br />
reaghb@rcschools.net<br />
State Band Chair: Debbie Burton<br />
John Overton High School<br />
4820 Franklin Road<br />
Nashville, TN 37220<br />
W 615-331-8586<br />
C 615-887-7718<br />
dlburton98@gmail.com<br />
State Higher Education Chair: Eric Branscome<br />
Austin Peay State University<br />
Department of Music<br />
P.O. Box 4625<br />
Clarksville, TN 37044<br />
W 931-221-7811<br />
H 931-542-2160<br />
branscomee@apsu.edu<br />
State Collegiate NAfME Chair: Michael Mann<br />
Union University<br />
1050 Union University Drive<br />
Jackson, TN 38305<br />
W 731-661-5231<br />
C 615-533-8859<br />
mmann@uu.edu<br />
State Educational Technology Chair: Lisa Leopold<br />
<strong>No</strong>rmal Park Museum Magnet<br />
1219 West Mississippi Avenue<br />
Chattanooga, TN 37405<br />
W 423-209-5914<br />
C 719-232-7281<br />
lwleopold@gmail.com<br />
TMEA COUNCIL<br />
WTVMEA President: Lalania Vaughn<br />
Tipton - Rosemark Academy<br />
8696 Rosemark Road<br />
Millington, TN 38053<br />
W 901 -829 -4221 x 4307<br />
H 901-829-2292<br />
C 901-489-1254<br />
lvaughn@rebelmail.net<br />
WTVMEA President Elect: Roland Wilson<br />
Colonial Middle School<br />
1370 Colonial Road<br />
Memphis, TN 38128<br />
W 901-416-5239<br />
C 901-619-<strong>67</strong>14<br />
wilsonrr@scsk12.org<br />
WTSBOA President: Chris Piecuch<br />
Overton High School<br />
1770 Lanier Lane<br />
Memphis, TN 38117<br />
W 901-416-2136<br />
H 901-683-5042<br />
C 901-831-4854<br />
chris.piecuch@yahoo.com<br />
WTSBOA President –Elect: Stephen Price<br />
South Gibson County High School<br />
1000 Hornet Drive, PO Box 249<br />
Medina, TN 38355<br />
W 731-783-0999<br />
H 731-499-3888<br />
prices@gcssd.org<br />
MTGMEA President: Ashley Copeland<br />
Watertown Middle School<br />
515 West Main Street<br />
Watertown, TN 37184<br />
W 615-237-4000 x 1536<br />
C 615-809-<strong>67</strong>12<br />
clarinet35@comcast.net<br />
MTVA President: Alexis Yatuzis-Derryberry<br />
Lascassas Elementary School<br />
6300 Lascassas Pike<br />
Lascassas, <strong>Tennessee</strong> 37085<br />
W 615-893-0758<br />
C 615-519-1392<br />
ayatuzisderryberry@mac.com<br />
MTVA President Elect: Shawn Frazier<br />
Middle <strong>Tennessee</strong> Christian School<br />
100 Middle TN Christian School Road, Murfreesboro, TN<br />
37129<br />
W 615-893-0601<br />
C 615-962-0499<br />
presidentelect@mtva.org<br />
MTSBOA President: Craig Cornish<br />
Middle <strong>Tennessee</strong> State University<br />
PO Box 63, MTSU<br />
Murfreesboro, TN 37132<br />
W 615-898-2486<br />
C 615-962-0321<br />
craig.cornish@mtsu.edu<br />
MTSBOA President –Elect: David Aydelott<br />
Franklin High School<br />
810 Hillsboro Road<br />
Franklin, TN 37064<br />
W 615-472-4465<br />
H 615-220-6964<br />
C 615-337-2579<br />
davida@wcs.edu<br />
ETGMEA President: Teresa L. Ryder<br />
Farragut Primary School<br />
509 Campbell Station Road<br />
Knoxville, TN 37934<br />
W 865-966-5848<br />
H 865-692-8837<br />
C 865-310-5208<br />
teresa.ryder@knoxschools.org<br />
ETGMEA President-Elect: Margaret Moore<br />
Lanier & Montvale Elementary Schools<br />
P.O. Box 5082<br />
Marysville, TN 37802<br />
C 865-216-5482<br />
mamcmoore57@aol.com<br />
ETVA President: Jason Whitson<br />
<strong>Vol</strong>unteer High School<br />
1050 <strong>Vol</strong>unteer Street<br />
Church Hill, TN 37642<br />
W 423-357-3641<br />
H 423-571-6596<br />
C 423-571-6596<br />
jason.whitson@hck12.net<br />
ETVA President Elect: Kention Dietch<br />
Farragut High School<br />
11237 Kingston Pike<br />
Knoxville, TN 37934<br />
W 865-966-9775<br />
C 865-<strong>67</strong>1-7137<br />
kenton.deitch@knoxschools.org<br />
ETSBOA President: Lafe Cook<br />
Dobyns-Bennett High School<br />
1800 Legion Drive<br />
Kingsport, TN 37664<br />
W 423-378-8589<br />
C 423-502-2279<br />
lcook@k12k.com<br />
ETSBOA President –Elect: Gary Wilkes<br />
Chattanooga School<br />
for the Arts and Sciences<br />
865 East Third Street<br />
Chattanooga, TN 37403<br />
W 423-209-5837<br />
C 423-718-4874<br />
wilkes_ gary@hcde.org<br />
CONFERENCE MANAGEMENT TEAM<br />
Conference Chair: Brad Turner<br />
Arlington Community Schools<br />
5475 Airline Rd.<br />
Arlington, TN 38002<br />
H 901-8<strong>67</strong>-1870<br />
C 901-438-8020<br />
brad.turner@acsk12.org<br />
50 www.tnmea.org<br />
TM | <strong>Vol</strong>ume <strong>67</strong> number 1
TM<br />
2014-2015 <strong>Tennessee</strong> Music Education Association<br />
Board of Directors and Council<br />
Conference Exhibits Chair: Jo Ann Hood<br />
829 Rocky Mountain Parkway<br />
Antioch, TN 37013<br />
H 615-361-1579<br />
C 615-957-1266<br />
jhood10105@aol.com<br />
Conference Registration Chair: Mark Garey<br />
Freedom Middle School<br />
750 New Highway 96 West<br />
Franklin, TN 37064<br />
W 615-472-3544<br />
H 615-790-8756<br />
C 615-347-0757<br />
mgarey86@comcast.net<br />
Conference Performance Group Chair: Randal Box<br />
Brentwood High School<br />
5304 Murray Lane<br />
Brentwood, TN 37027<br />
W 615-472-4236<br />
H 615-395-7018<br />
C 615 5<strong>67</strong>-1081<br />
ranbox@comcast.net<br />
All-State Instrumental General Chair:<br />
Martin D. McFarlane<br />
Wilson Central High School<br />
419 Wildcat Way<br />
Lebanon, TN 37090<br />
W 615-453-4600 x 3077<br />
H 931-247-1361<br />
C 931-247-1361<br />
mcfarlanem@wcschools.com<br />
All-State Choral General Chair: Brian Russell<br />
Stewarts Creek High School<br />
301 Red Hawk Blvd<br />
Smyrna, TN 371<strong>67</strong><br />
W 615-904-<strong>67</strong>71<br />
C 615-945-1825<br />
russellb@rcschools.net<br />
ENSEMBLE CHAIRS<br />
Treble Honor Choir Chair: Tiffany DePriest<br />
Madison Creek Elementary<br />
1040 Madison Creek Road<br />
Goodlettsville, TN 37072<br />
W 615-859-4991 x 212<br />
C 615-308-5364<br />
bowhead0313@gmail.com<br />
SATB Ensemble Chair: Lia Holland<br />
Robertson County Schools<br />
3276 New Chapel Road<br />
Springfield, TN 37172<br />
W 615-584-5782<br />
liahol@comcast.net<br />
Women’s Chorale Ensemble Chair: Amanda Ragan<br />
Oak Ridge High School<br />
1450 Oak Ridge Turnpike<br />
Oak Ridge, TN 37830<br />
W 865-425-9644<br />
aragan@ortn.edu<br />
Men’s Chorus Ensemble Chair: John Kimbrough<br />
Jackson Christian School<br />
832 Country Club Lane<br />
Jackson, TN 38305<br />
W 731-668-8055<br />
C 931-265-8848<br />
johnny.kimbrough@jcseagles.org<br />
9th-10 th Grade String Orchestra Chair: Gary Wilkes<br />
Chattanooga School for the<br />
Arts and Sciences<br />
865 East Third Street<br />
Chattanooga, TN 37403<br />
C 423-718-4874<br />
gwilkes428@gmail.com<br />
11th-12th Grade Symphonic Orchestra Chair:<br />
Sandy Morris<br />
Chattanooga Youth Philharmonic Orchestra<br />
701 Broad Street<br />
Chattanooga, TN 37402<br />
C 423-596-2703<br />
sandyronmorris@gmail.com<br />
9th-10 th Grade Concert Band Chair:<br />
J.R. Baker<br />
White House Heritage High School<br />
7744 Highway 76<br />
White House, TN 37188<br />
W 615-478-7181<br />
john.baker@rcstn.net<br />
11th-12 th Grade Concert Band:Will Sugg<br />
Martin Luther King Jr.<br />
Academic Magnet School<br />
613 17th Avenue <strong>No</strong>rth<br />
Nashville, TN 37203<br />
W 615-329-8400<br />
C 615-483-3961<br />
william.sugg@mnps.org<br />
All State Jazz Band Chair: Bob Chandler<br />
Franklin Road Academy<br />
4700 Franklin Road<br />
Nashville, TN 37220<br />
W 615-369-4492<br />
H 615-948-1490<br />
C 615-948-1490<br />
chandler@franklinroadacademy.com<br />
PROJECT CHAIRS<br />
<strong>Tennessee</strong> <strong>Musician</strong> Editor-in-Chief:<br />
Michael Chester<br />
Stewarts Creek High School<br />
301 Red Hawk Parkway<br />
Smyrna, TN 371<strong>67</strong><br />
W 615-904-<strong>67</strong>71<br />
C 615-308-6098<br />
editor@tnmea.org<br />
<strong>Tennessee</strong> <strong>Musician</strong> Advertising Manager:<br />
Catherine Wilson<br />
501 Barton Shore Court<br />
Lebanon, TN 37087<br />
C 402-984-3394<br />
admanager@tnmea.org<br />
Jazz Education Policy Chair: Richard Ripani<br />
Hume-Fogg Academic<br />
Magnet High School<br />
700 Broadway<br />
Nashville, TN 37203<br />
W (615)291-6300<br />
rripani@yahoo.com<br />
Advocacy and Government Relations Chair:<br />
Joel Denton<br />
Ooltewah High School<br />
6123 Mountain View Road<br />
Ooltewah, TN 37363<br />
W 423-238-9586<br />
denton_joel@hcde.org<br />
Society for Music Teacher Education Chair:<br />
Jamila McWhirter<br />
MTSU School of Music<br />
MTSU Box 47<br />
Murfreesboro, TN 37132<br />
W 615-898-5922<br />
jamila.mcwhirter@mtsu.edu<br />
Webmaster:<br />
Lisa Leopold<br />
<strong>No</strong>rmal Park Museum Magnet<br />
1219 West Mississippi Avenue<br />
Chattanooga, TN 37405<br />
W 423-209-5914<br />
C 719-232-7281<br />
lwleopold@gmail.com<br />
Tri-M Chair:<br />
Todd Shipley<br />
Martin Luther King Jr.<br />
Academic Magnet School<br />
613 17th Avenue <strong>No</strong>rth<br />
Nashville, TN 37203<br />
W 615-329-8400<br />
todd.shipley@mnps.org<br />
MIOSM Chair: Tiffany DePriest<br />
Madison Creek Elementary<br />
1040 Madison Creek Road<br />
Goodlettsville, TN 37072<br />
W 615-859-4991 x 212<br />
C 615-308-5364<br />
bowhead0313@gmail.com<br />
Research Chair:William Lee<br />
University of <strong>Tennessee</strong> at Chattanooga<br />
615 McCallie Avenue<br />
Chattanooga, TN 37403<br />
W 423-425-4601<br />
H 423-425-5269<br />
william.lee@utc.edu<br />
Membership Chair: Cynthia Wieland<br />
Bon Lin Middle School<br />
3862 <strong>No</strong>rth Germantown Road<br />
Bartlett, TN 38133<br />
W 901-347-1520<br />
wielandcf@scsk12.org<br />
Retired Teachers Chair: Bobby Jean Frost<br />
5816 Robert E. Lee Drive<br />
Nashville, TN 37215<br />
H 615-665 0470<br />
C 615-973-1537<br />
Music Merchants Industry Chair: Rick DeJonge<br />
KHS America<br />
12020 Eastgate Boulevard<br />
Mt. Juliet, TN 37122<br />
W 615-773-9922<br />
rdejonge@jupitermusic.com<br />
51
<strong>Tennessee</strong> Music Education Association<br />
129 Paschal Drive<br />
Murfreesboro, <strong>Tennessee</strong> 37128<br />
QuaverCustAd_TN_TMEA_Fall14.pdf 1 8/15/14 3:10 PM<br />
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